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Pick a Theme
John Haber
in New York City
Haber's Reviews . . . by Postmodern Ideas
The art I love best catches me by surprise. It is the surprise of understanding—or not understanding—and it takes words. That is why good criticism means sharing ideas. So pick a theme, and see if it can bring art more alive.
Art as something tied up with words and ideas—it sounds very Postmodern, and so will my themes. Oh, sure, Postmodernists are supposed to distrust grandiose words like authenticity and expression. Oh, sure, they worry about gender, politics, and new media. I do, too, but I revel in some old-fashioned tastes and distinctions along the way. If I lose the experience of art, I am done for.
Is it Postmodernism yet?
Surely someone can define Postmodernism—or at least Modernism? That way, I could remember which one is dead and which is still fighting to save alive. I argue that Postmodernism makes sense only as a perspective on the past. Conversely, Modernism remains crucial, but as an eye to turn on the present:
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Practice My reviews often take on the birth and survival of modern art. I argue for its vital interest today, while questioning the institutions keeping the patient alive:
- An "Unmonumental" New Museum
- Chelsea adopts the Lower East Side
- The money machine heads south
- Shaw, Tunga, chaos, and myth
- Painting or photography as architecture
- AbEx or "pattern and decoration"?
- Photography's connoisseur of chaos
- Installations with signs of life
- Abstraction as a graphic novel
- So many cracks in a wall of light
- Windows, doors, and abstract art
- Four empty postmodern playgrounds
- Three triumphs or an American century?
- Fuller, Noguchi, and a cheaper future
- An accidental masterpiece of advertising
- Formalism, elegance, and splatter
- A Biennial beyond American art?
- The Modern's Manhattan "Take Two"
- Chelsea and the battle for Babylon
- Nudging and shaping painting
- A sunken jetty and a floating island
- Empty tiers of nonobjective art
- Pissarro, Cézanne, and two futures
- Minimalism's monumental scrap heap
- Opening The Gates to New York
- Digging up the dirt on the Modern
- MOMA's new site and old habits
- Leslie and abstraction's Zeitgeist
- Inside the great outdoors
- Postmodernism's beautiful past
- A Sephardic Jew in Montparnasse
- A glass ceiling and an "Open House"
- A Biennial that aims to please
- Sonnier and real urban sprawl
- Life beyond Chelsea (maybe)
- Postmodern—or post-feminist?
- Abstract Expressionist cartoons
- An era's portrait in a convex mirror
- Pop Art, politics, or Surrealism?
- The primitive's "American Effect"
- Modernism's "Primitive Discord"
- Beckmann and a nation's masks
- Struth plays connoisseur of chaos
- Malevich seeks political asylum
- Carroll's adventures underground
- Abstraction as "Seeing Red"
- Whistler's clothes make the woman
- Can art become invisible?
- The long view from a monolith
- Whiteread's monumental negative
- Reassessing the Modern's art
- Alternative and reconstructions
- The official language of grieving
- Whistler's clothes make the woman
- Two brushes with the past
- Three versions of a woman
- Crashing abstraction's party
- Between the naked and the nude
- The Baroque as avant-garde
- Give postmodern art a rest
- Sobel, the drip, and the primitive
- Surrealism's sex and violence
- "Mirroring Evil" or absorbing it?
- El Greco's Post-Post-Renaissance
- Beating Modernism to extremes
- Video as a performance or media
- How many lives had Anthony Blunt?
- Carnival art, decadence, or just fun?
- Noguchi returns ads to paradise
- Nudity and nostalgia in Postmodernism
- Entelechs and a global neighborhood
- "BitStream" novelty and appropriations
- Renaissance art's "high" and "low"
- Modernism tries to keep "Open Ends"
- Modernism's tough choices
- Modern "Crossroads" into the past
- Minimalism and the postmodern behemoth
- Signac's stand outside Modernism
- Making Pop look old-fashioned
- Hitting the postmodern wall
- Modernism's Y2K problem
- The Whitney hits the year 2000
- Rothko and the postmodern sublime
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- Utopia with and without color
- Weiner's words, words, words
- The nineteenth century runs late
- What is painting, and who says so?
- Space and irony take shape
- The prison house of language art
- "The Price of Everything" in art
- Matta-Clark's cut into Minimalism
- The Whitney eyes the High Line
- Chelsea as event—or a museum
- Dumbo and I as other art worlds
- A Rhapsody in red, yellow, and blue
- Three definitions of conservative art
- Eisler's deadly and erotic fairy tales
- Postmodernism as directed dreaming
- Smith's mythic American sculpture
- Zittel makes plans for your future
- Hyperactive art or shaken perception
- Tuttle, Fischer, and Minimalism lite
- An explosion of New York color
- Dark stations and pungent earth
- Authenticity and perversity
- Remotely viewing abstract art
- The High Line to the modern city
- Metaphor, geometry, and goo
- A Village east of Eden—and Soho
- Photography and belief in the real
- Chelsea truly goes over the top
- Wall to wall and ear to ear
- de Kooning's vulgar abstraction
- Artists in and out of fashion
- The Kabakovs as art institutions
- Gorky drawings as painting's future
- A biography of Gorky's absence
- Galleries as fragile institutions
- London's frenzy and tradition
- Drawing back from "The Edge"
- Dia:Beacon assumes Minimal control
- Goltzius's Post-Renaissance art
- Are Stella and Schwitters painting?
- Matisse and Picasso deal with it
- The postmodern writer as fiction
- Madonna has a satanic fashion show
- Shapiro's and Blum's overgrown toys
- Laughter and laser-cut tears
- Ingres the progressive?
- Empathy and courtly service
- Romanticism's active imagination
- van Gogh's doctor tries to get it
- An "American century"?
- . . . As it drones on
- Abstraction disguised as videotape
- Pollock's growth past the modern
- Manet listens to the Salon
- Duchamp and Bidlo together
- Soho's memories of modernity
- The museum as muse
- Baselitz and Albers face off
- Cage's circus
- de Kooning the postmodern . . .
- . . . or the early modern
- La Tour the modernist
- Rauschenberg's shock of the old
- Is art (and everything else) text?
- Tiepolo in Soho
- Twombly's blackboard
- Erasing Warhol
- Modernism's "imaginary museum"
- "Abstract art since 1970"
- "American Impressionism and Realism"
- A post- or maybe premodern museum
- An official Chelsea arts walk
- Impressionism as genre painting
- Looking through paint
- Minimalism as installation
- Minimalism as photorealism
- Conceptual arts, plural
- Oh, no, another Minimalist
- "Objects of Desire"
- "Academic" art and Dik Liu
- Romanticism's quiet revolution
- "Twentieth-century abstraction"
- More academic than abstraction
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Why art takes words
Who needs critics anyway, and why all that theory? "Why not say what happened?" as Robert Lowell agonized in a poem about Vermeer. My site offers a hymn to intellectual beauty. I want to show how good writing, like art, can be an eye-opener.
Practice Sure, I mean to help people, by evoking shows that interested me. The public mostly mistakes art before Monet for dead history, modern art for a hoax. But I also mean what words can do for anyone excited by art's imagination.
Why feminist criticism?
Because it is the most important postmodern perspective, hands down. By conviction, I see artists as disturbers of the peace—sexism, sexual desire, and all. But when art history lets in women, what happens to work by men?
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Practice Naturally, I have to argue for men in feminism, and I demand a feminism that sees new value in old art. My reviews, however, more often point to biases in artists and institutions:
Still more ideas!
jhaber@haberarts.com
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