Art in America


Dealers Rethink Strategies for Art Fairs
News & Opinion, March 2009
If you want a quick snapshot of how contemporary art fairs have changed in recent years--moving from a clubby way of sharing resources to an essential part of how galleries do business--New York's Armory Show fits the bill.

Croatian Modern
June 2003
"Here Tomorrow," a five-venue, 35-artist exhibition, drew from Croatia's avant-garde past and its newly democratic present to consider the future.

Seeing and Believing
October 2002
British artist Mark Wallinger seems increasingly drawn to metaphysics and religion. For his most recent London show, at the Whitechapel Art Gallery, he explored these themes through a sequence of works in various mediums.

Life After YBA-Mania
October 2002
Exploring the current London art scene, a New York critic finds the British capital awash in museum interventions, artist collectives, landscape paintings and some jejune nose-thumbing.

Bridget Riley: The Pleasure of Pure Seeing
April 2001
A discussion of the artist's return to New York, with two shows – a 1961-1984 survey at the Dia Center and a gallery show at PaceWildenstein.

The Emergent Factor
July 2000
A recent show at P. S. 1, devoted to developments in the New York art world since 1995, embraced 145 artists, dozens of curators and two major institutions.

Reviews, 1998 – 2004:
Fred Tomaselli, Damien Hirst, Jenny Saville, Tim Gardner, Eric Fischl, Gary Hume, Philip Pearlstein, Marni Weber, Vija Celmins, Sean Mellyn, Fatimah Tuggar, Heidi Cody, Katharina Fritsch, Meredith Danlukc, Paul Noble, John Roloff, Steve Mumford, Jim Torok, Adam Fuss, Fiona Banner, Mary Carlson, Richard Barnes, Cathy de Monchaux, Elger Esser, Joan Semmel, Seremin Kardestuncer, Nina Katchadourian, Annalies Strba, Trisha Brown, William Bailey, Charles Clough, Lawrence Seward, Maria Marshall.

Selected Reviews

Damien Hirst
May 2001
"By now, everyone who reads newspapers probably knows that Damien Hirst's work displays a canny understanding of life and death. But does it really? Hirst is now one of those cultural phenomena whose reputation is so gargantuan that it's almost impossible to see beyond it, for good or ill, and clear-sightedly judge the art he makes."

Jenny Saville
January 2004 (with letter exchange from May 2004)