On View

On View

Urs Fischer at Gagosian Gallery and the Lever House Art Collection

Installation view of 'Urs Fischer: mermaid / pig / bro w/ hat,' at Gagosian's temporary gallery at 104 Delancey Street. © Urs Fischer. (Photo by Robert McKeever, courtesy the artist and Gagosian Gallery)

The 40-year-old Urs Fischer may end up being the greatest sculptor of his generation, but he’s not exactly rushing to secure that title. When he is in the zone, throwing himself at his discipline with gleeful extravagance, he’s unstoppable. But he is also a profligate producer, almost proudly inconsistent. I’ve been rooting for him, so it’s disappointing to see him stuck in a holding pattern in three concurrent New York shows. Read More

On View

‘Alibis: Sigmar Polke 1963–2010′ at the Museum of Modern Art

'Raster Drawing (Portrait of Lee Harvey Oswald)' (1963) by Polke. (Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn)

This retrospective of the German artist Sigmar Polke finds profound coherence in what is often termed his eclectic style. Unlike previous Polke surveys it mixes mediums: alongside painting and drawing there’s photography, sound, video, film and collage.Their combination proves key in assessing Polke’s reinvention of painting. From his rasterized halftone dot paintings, to paintings in photographic silver bromide (a light-sensitive chemical that darkens over time) on Bubble Wrap, and even uranium-exposed photographs, Polke effected a tectonic shift in how we think about what a painting can be. Read More

On View

‘Paul P.: The Homosexual Lovers Throughout the Ages Party’ at Broadway 1602


Over the past decade, the artist Paul P. has established himself as a Victorian aesthete, a master draughtsman and a connoisseur of nostalgia. He has depicted romantic, Old World scenes and dewy-eyed portraits of young men, often topless, his careful handling of pencil and paint obscuring their origins in 1970s and ’80s pornography. In the course of becoming his generation’s John Singer Sargent, he has hazarded charges of preciousness but has almost always managed to stay one step ahead of the twee by coming at the past from oblique emotional and artistic angles. Read More

On View

‘Mel Leipzig: Everything Is Paintable’ at Gallery Henoch

'Joshua and His Children' (2011) by Leipzig. (Courtesy the artist and Gallery Henoch)

Mel Leipzig has his eye on the ball. He paints with four acrylic colors (not counting black), no drawing, the edge-to-edge punctiliousness of a Nikomat and the fluent pragmatism of a courtroom illustrator, but he never loses his grip on the central distinguishing fact of a person or scene. In the 6-by-4-foot College Basketball Coaches, a tall man in black T-shirt and shorts stands holding the worldly orb of an orange basketball in the outstretched fingers of both hands. Read More

On View

‘Matthew Porter: High Difference’ at Invisible-Exports

'Field' (2013) by Porter. (Courtesy the artist and Invisible-Exports)

The most fully transparent of all the multiply exposed, deceptively transparent photographs in Matthew Porter’s show “High Difference”—a WWI-era style of camouflage that aimed to dissemble and disorient rather than conceal, “High Difference” would also be a good name for the kind of easy-spirited conceptual double cross that seems to be the fairest flower of our world-weary age—is Field, a color print nearly 5 feet high. Read More

On View

Maria Lassnig at MoMA PS1

'Self-Portrait Under Plastic'  (1972) by Lassnig. (Photo ©Peter Cox, courtesy Collection de Bruin-Heijn)

At nearly 95 years of age, Austrian-born painter Maria Lassnig is having her first museum show in the United States. Like Philip Guston, Ms. Lassnig turned to figuration in the 1960s after a period of abstraction. Like Alice Neel, she has painted herself as a naked old woman holding a paintbrush; unlike Neel, Ms. Lassnig is usually alone in her paintings and brutally self-lacerating in her art. Read More

On View

Klara Kristalova at Galerie Perrotin and Lehmann Maupin

Installation view at Perrotin. (Courtesy Galerie Perrotin)

At the center of Klara Kristalova’s exhibition “Underworld,” at Galerie Perrotin, sits a lumpy, brown, trained bear. All the other figures in the Czech-born, Swedish ceramicist ’s psychic circus have a dewy wet glaze that makes them look, despite their waist-high size and evident weight, as provisional as soap bubbles. But the only thing shining on the bear, as she lolls on the edge of a low, gray pedestal next to a bearded but womanly ringmaster, demurely tilting her mousy head, are the 20 white claws that she makes a point of extending. It’s clearly the bear that tolerates the trainer, not otherwise. Together they comprise a single insightful piece called Le Mariage. Read More