Alex Katz

Spring

★★☆☆☆

Curated by Timothy Taylor
On until 26 October 2024

The nonagenarian Katz is an acquired taste. His bold colouring and reduced forms are perfect for sore American eyes trained on advertising and pop art. To them, such habitual simplicity might look like an unpretentious virtue. 

Should flower arrangements need such an initiation? Katz’s pictures of willow and daffodils are pleasant but trivial. The man’s a legend, granted – think Hockney and his later landscapes – but this emperor’s clothes have moth holes. 


notes and notices are short and curt exhibition reviews. Read more:

Condo: The Ambassadors at Wien at Ginny on Frederick ★☆☆☆☆

Sophie Giraux, Albert Dietrich

Condo: The Ambassadors

★☆☆☆☆

Everything about this show feels lazy.

Yi To, Terminal Lucidity at Project Native Informant ★★★★☆

Yi To

Terminal Lucidity

★★★★☆

All evidence erodes eventually.

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock

★★☆☆☆

This is a poor man’s version of history or a philistine collector’s absolution.

Tesfaye Urgessa, The Ethiopian Pavilion in Venice ★★★★★

Tesfaye Urgessa

Prejudice and Belonging

★★★★★

Urgessa’s figures are contorted in love, death, or merely life.

Victor Man: The Absence That We Are at David Zwirner ★★★☆☆

Victor Man

The Absence That We Are

★★★☆☆

Man’s colours are only a small nudge of the wheel from Tretchikoff’s infamous portrait of the Chinese girl.

Florian Meisenberg, What does the smoke know of the fire? at Kate MacGarry, ★★★★☆

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What does the smoke know of the fire?

★★★★☆

Meisenberg’s paintings are either the product of a conspiracy or documents of a conspiracy theory.

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