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See this now: Alfred Leslie’s “The Second Two-Panel Horizontal” (1958) in “Abstract Expressionist New York” at MoMA

First, here’s a bit of advice for anyone out there who thinks that yet another abstract expressionist show, especially one drawn exclusively from MoMA’s permanent collection, really can’t be very interesting. You’re wrong. “Abstract Expressionist New York” is not only one of the most enjoyable shows you’re likely to see for some time, it is [...]

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On the fingers of one hand: five of the best gallery shows opening this week.

Second week of the new season and there are still great new shows opening pretty much every night of the week. This week it’s been a little bit harder to steer away from some of the obvious choices (my final pick today is more or less unavoidable – though none the less wonderful for that) [...]

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On the fingers of one hand: the best of this week’s new gallery shows.

It’s that time of year again. Labor Day’s behind us and the city’s gallery season is about to begin. It is always an exciting moment, regardless of the economy, and it’s an excitement that seems to catch the imagination of people way beyond the usual gallery-going public. Though I shall be happy to give Chelsea’s [...]

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“I think every artist would like to be a rock star.” – Robert Ayers in conversation with Mickalene Thomas.

No one walking along West 53rd Street on the way to MoMA this summer can miss Mickalene Thomas’s remarkable installation Le déjeuner sur l’herbe: Les Trois Femmes Noires in the window of The Modern restaurant. What may come as a surprise to many MoMA visitors though, are the direct links that exist between her installation [...]

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“I think it’s color, really, that keeps me interested.” – Robert Ayers in conversation with Richard Smith.

Had I not stumbled upon performance art in the early 1970s, it is very possible that I would have dedicated my artistic efforts to abstract painting after the particular example of my compatriot Richard Smith (born 1931). When I was a young British art student there were very few artists for whom I had more [...]

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“I’m not afraid of the word romanticism.” – Robert Ayers in conversation with Yigal Ozeri.

I’ve known Yigal Ozeri for something like four years now, and written about his work for ARTINFO on several occasions. He is a genuinely larger than life character, and one of the most voluble, most likeable characters on the New York art scene. Born in Israel in 1958, Mr Ozeri has been working here for [...]

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“Three cheers for the unconscious!” – Robert Ayers in conversation with Malcolm Morley

    Many years ago, back in the early 1980s, I used to write for a little British art magazine called Artscribe. We published in black and white, scraping by from issue to issue, but we were an earnest little group who felt that our opinions might actually shape the future of contemporary painting. Of course [...]

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Personal recommendations: the Affordable Art Fair

  I had quipped to friends before attending this year’s New York Affordable Art Fair that I doubted whether I would find anything that was coincidentally affordable and desirable. I am big enough to admit that I was wrong.  In its new accommodation at 7 West 34th Street – the same place that has recently [...]

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“Oh, that’s mine!” – Robert Ayers in conversation with April Gornik

  For a long time I have had a real enthusiasm for April Gornik’s painting, and not only because she was the subject of the very first interview that Barbara MacAdam asked me to do for ARTINFO in 2005. There is an unwritten rule over at ARTINFO that artists don’t get interviewed more than once, [...]

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On the fingers of one hand: Lisa Phillips and her curatorial team explain what’s so good about being “Younger than Jesus”.

    When I looked forward at the beginning of the year to “The Generational: Younger than Jesus”, the New Museum’s first edition of its international triennial, I said I was hoping for “some spectacularly hit-and-miss controversy”. Now that I’ve seen the show I can confirm that the work it includes ranges from the not-quite-sublime to the utterly-ridiculous. [...]