Philip Taaffe: Works-On-Paper

By Mario Naves The artist Philip Taaffe gained notoriety less as an abstract painter than as a commentator on abstract painting. His early canvases quoted specific historical precedents—the Op Art of Brigid Riley, say, or Barnett Newman’s proto-Minimalist “zip” paintings—with all but indiscernible cynicism: They functioned as dead-end emblems of style. Po-Mo affectation would lessen, if not be altogether abandoned, in Taaffe’s subsequent elaborations on surface, color and decoration. Appropriating ornamental motifs from the world over, Islam and Asia especially, and utilizing discreet parcels of collage, Taaffe’s encompassing pattern paintings made for elegant eye-candy good for a momentary buzz.

Center of the Jazz Universe?

The NEA Jazz Masters are from New York—for now By Howard Mandel A cadre of estimable musical elders convened Jan. 12 at Rose Theater of Jazz at Lincoln Center for the National Endowment of the Arts’ 2010 Jazz Masters ceremony and concert. And a majority of them were New Yorkers. Will that always be so? Is this city the place to be for jazz to come? Of this year’s inductees, pianist-composers Muhal Richard Abrams, Kenny Barron, Cedar Walton, singer Annie Ross and record producer George Avakian are locals. Plus, vibist Bobby Hutcherson and reeds player Yusef Lateef put in serious Big Apple time. ...

The Art of the Song

Three masters, two teaching, one singing By Jay Nordlinger You know who Marilyn Horne is: the American mezzo-soprano, born in 1934, who is one of the best singers we have ever known. Do you know what the Marilyn Horne Foundation is? The singer set it up in the mid-1990s, as her performing career was nearing an end. The foundation has a thumbnail description of its purpose: “To encourage, support and preserve the art of the vocal recital through the presentation of vocal recitals and related educational activities in communities across the United States.”

Keep Dancing

The annual Dance on Camera film festival celebrates the bodies and the brains of dancers—young and old By Susan Reiter Whatever your idea of a dance film might be, you can find an example of it at the 38th annual Dance on Camera Festival. From feature-length documentaries to four-minute animated shorts, it’s all there during the five days of extensive and varied programming. If the idea of sitting in a dark theater with athletic bodies hurling themselves through the air intimidates you, then maybe watching it onscreen can be a start. The festival begins Jan. 29, at Lincoln Center’s Walter Reade Theater, ...

JULIA MORTON's Now On

Museums

No Franks at the Wright

‘Modern American’ menu meets site-specific sculpture at Guggenheim eatery By Charlotte Eichna The Guggenheim has long been one of the few iconic museums...

On (Durable) Beauty

The sturdy porcelain from the Du Paquier factory finally receives a fitting presentation By Brice Brown In the world of 18th-century European porcelain,...

An Outsider, Deep Inside Himself

The reclusive Jewish painter Hyman Bloom reminds us that spirituality is still a viable artistic path By Lance Esplund You may have never heard of the...

Drawings for Crazy Horse

By Melissa Stern

I have long been a fan of Tony Fitzpatrick’s eccentric and obsessive etchings. In the past he has turned his attention and finely-tuned hand to obsess on birds, bugs, hobo alphabets and the poetry of cities. In recent years he has moved increasingly into a new visual and conceptual universe, using collage to channel his obsessions into the visible world. Read more

Tweet This Post