Charles Schultz is a New York-based art critic. He is an Associate Art Editor at The Brooklyn Rail and the City Editor of New York and Miami for ArtSlant. His writing has appeared in Art in America, Modern Painters, ArtSlant and The Brooklyn Rail. Schultz is currently working on a book about the legacy of industry in American Art.
In 2002, five years before his death, Bruce Conner began working with Magnolia Editions on several projects, one of which was a series of large tapestries recreating the compositions of collages he had made in the late 1980s and early ‘90s Read More
Hideo Kobashigawa, Manzanar Woodblock (1944), woodcut on rice paper, 12 x 18 inches. Courtesy the National Park Service and Manzanar National Historic Site.
In the aftermath of the attack on Pearl Harbor, fear of Japanese covert action spread through the United States, giving rise to President Roosevelt’s Executive Order 9066 of 19 February 1942. Read More
This monograph offers a comprehensive collection of Luc Tuymans’ work in printed media. Spanning three decades of the Belgian painter’s career and including a thorough list of exhibition and publication histories, it also functions as a catalogue raisonné. The book follows a chronological layout, which allows the reader to trace the arc of Tuymans’ career as it builds momentum and branches out to include collaborations with master printers, poets and fellow artists with sympathetic politics. Read More
The first work one encounters in Wade Guyton’s midcareer survey, “OS,” at the Whitney Museum is a quintet of canvases, mostly black, with orange flames at the base licking the letter “U.” Slightly larger and wider than an average door, these pieces seem to address the entering visitor. Read More
Amidst the post-Hurricane Sandy melée of public outcry and press conferences, Mel Bochner’s modestly sized etching with aquatint, Talk is Cheap (2012) came to seem topical and singularly apropos. Bochner has been working with Two Palms Press for over a decade, producing prints whose subject matter is often literary. Many of these invoke clever word games, others traffic in popular phrases. This piece is one of the latter and is among the more intentionally boorish of his output. Read More
When it comes to spending time with artworks, circumstance gives color to every scene and situation. This year the IFPDA Print Fair coincided with a tempest so severe that it temporarily hobbled New York City’s infrastructure. Dealers spoke of lost inventory, of ruined walls and waterlogged electrical systems. Images of disaster and tales of desperation and misery commanded news channels and radio waves. And yet the overall spirit of the fair seemed relatively undiminished. Visitors came, prints sold; it was a microcosm of healthy enterprise. Read More
Patrick Scott, Untitled from the series Meditations (2007).
The Irish artist Patrick Scott often makes use of precious metals in his non-representational paintings. Spare in design, these works tend to feature simple shapes that allow their materiality to stand out. Meditations, a boxed set of seven carborundum prints, employs a similar methodology. Read More
There are prints of Bruce Conner’s that become gently graphed onto one’s visual cortex if given enough viewing time. The effect is fleeting, but unmistakable, and it’s what gives this exhibition its title, “Afterimage.” It is uncommon to anchor a body of offset lithographs in the viewer’s sensual experience, but that is precisely what Conner’s early efforts were meant to do. Without intent, one’s gaze deepens to a stare, tracing tightly wound, jet-black, labyrinthine lines across a creamy white page. Read More
Martin Kippenberger, Raft of the Medusa (1996), suite of fourteen lithographs, edition of 26, various sizes on various papers, each signed and numbered, in portfolio; portfolio measures 58.42 x 47.62 cm. Edition of 26.
Martin Kippenberger was the sort who might crack a joke during a funeral procession, and it would probably be a self-abasing knuckle-biter. He had a coy sense for the tragicomic, a dipsomaniac with a diva’s fondness for the spotlight. His late work, Raft of Medusa (1996), recently on view at Carolina Nitsch accompanied by a pair of drawings on hotel stationary and a few collages, captures the anguish and urgency of a vivacious personality confronting a grave reality. Read More