Willem de Kooning and John Chamberlain at PaceWildenstein. (New York).(exhibition)(Brief Article)

From: Art in America | Date: January 1, 2002| Author: Kalina, Richard | Copyright information

This beautifully curated pairing of Willem de Kooning's paintings and John Chamberlain's sculptures at PaceWildenstein pointed up the power of that underused (and nicely didactic) format, the two-person exhibition. Although the show is subtitled "Influence and Transformation," the issue of influence is problematic: while Chamberlain, nearly 25 years de Kooning's junior, shared the painter's action-oriented Abstract Expressionist ethos, he was scarcely an acolyte. What the exhibitio...

Related newspaper, magazine, and journal articles from HighBeam Research

Willem de Kooning and John Chamberlain at PaceWildenstein. (New York).(exhibition)(Brief Article)
Art in America ; This beautifully curated pairing of Willem de Kooning's paintings and John Chamberlain's sculptures at PaceWildenstein pointed up the power of that underused (and nicely didactic) format, the two-person exhibition. Although the show is subtitled Influence and Transformation, the issue of influence
As ever, De Kooning. (late paintings of Willem de Kooning, traveling exhibition)
Art in America ; By the time Willem de Kooning: the Late Paintings, The 1980s, began its inaugural run at the San Francisco Museum of Modern Art in October 1995, rumors of the circumstances besetting de Kooning himself, as well as, by implication, anything he produced since 1980, were swarming preemptorily between
A Deluge of De Kooning
The Washington Post ; HOW CAN YOU not love the paintings of Willem de Kooning? Well, you can look at them too long, and take them too seriously. The National Gallery of Art is inviting visitors to do both, in the first major exhibition devoted exclusively to his paintings. The exhibition embraces 76 of de Kooning's
The last Dutch master. (artist Willem de Kooning)(Obituary)
Newsweek ; WILLEM DE KOONING CALLED CALLED HIMSELF A SLIPPING glimpser because his pictures were never totally abstract. Early last Wednesday morning, he slipped from life at the age of 92. De Kooning had suffered from Alzheimer's disease since the early 1980s. Nevertheless, he kept on painting (an exhibition
The Eye Of The Storm; The National Gallery Crystallizes Willem de Kooning's Turbulent Essence
The Washington Post ; ... 1946), "Asheville" (1948), "Excavation" (1950), the Museum of Modern Art's famous "Woman I" (1950-52) or the gritty "Gotham News" (1955) - one feels de Kooning's deep delight in the endless possibilities and obedient flexibilities of manipulated paint. As ...
De Kooning's Works in 'Process': What Lies Beneath
The Washington Post ; Bad art is easy to ignore. Good art is easy to get excited about. But how about another category altogether: art that often gets a lot of things wrong, but that is deeply interesting in how its wrongness came about.The Corcoran Gallery of Art recently opened a modest touring show called "Willem de
Willem de Kooning, 1904-1997. (artist)(Obituary)
Art in America ; Reams of trivia about de Kooning the drunk, womanizer, basket case, etc., have just about buried de Kooning the artist. Too bad, because for me and most avant-garde artists I knew in the 1 950s he was the painter. He was so revered by the habitues of the Cedar Street Tavern and the Club that their
Artist de Kooning's legacy undeniable Late painter helped bring world recognition to American works
The Milwaukee Journal Sentinel ; When the hand of Willem de Kooning took flight in abstract painting in the 1950s, the splashy trails it left on canvas looked like skid marks of emotion turned loose in space. De Kooning, who died Wednesday at age 92, brought painting up to the speed of the mid-20th century and was one of the last
De Kooning's changes of climate. (artist Willem de Kooning)
Art in America ; One of the ways that I connect with artists of the present and of the past is to imagine them at work. I fantasize about how they stand as they face their paintings, the choreography of their body language as they work and, most important, the nature of the internal dialogues that determine their
A Life's Strong Currents; The Art of Willem de Kooning Was Like the Ever-Changing Ocean
The Washington Post ; ... Buenos Aires. He finally succeeded in 1926. He spent most of the long voyage living with the crew. He slipped ashore at Newport News. He said, "The only word I knew was `yes.' " The thought that his fine art career had been left behind in Europe did not bother ...