Barry Schwabsky is the art critic of The Nation. Schwabsky has been writing about art for the magazine since 2005, and his essays have appeared in many other publications, including Flash Art (Milan), Artforum, the London Review of Books and Art in America. His books include The Widening Circle: Consequences of Modernism in Contemporary Art, Vitamin P: New Perspectives in Painting and several volumes of poetry, the most recent being Book Left Open in the Rain (Black Square Editions/The Brooklyn Rail). Schwabsky has contributed to books and catalogs on artists such as Henri Matisse, Alighiero Boetti, Jessica Stockholder and Gillian Wearing, and has taught at the School of Visual Arts, Pratt Institute, New York University, Goldsmiths College (University of London) and Yale University.
Did Chris Marker think history to be not only an infinite book but a sacred one?
A quartet of shows at MoMA decoct enlightenment from the banal.
Ed Clark and Lynda Benglis are still making art on a grand scale.
The Guggenheim’s Futurism exhibition and the Whitney Biennial offer competing visions of present-mindedness.
Ambitious beneath his pose of indolence, James McNeill Whistler was the most contradictory of artists.
Hunger games?… Snowden: necessity defense… “permission to fail”… “Czars & Samovars” redux…
MFAs aren’t a problem: it’s artists being content with what they know.
Do our financial wizards, like vampires, leave no reflection in the mirror of art?
The beauty and muchness of Ai Weiwei’s art is often underwhelming.
Horror in Afghanistan… the great Charlie Mingus… field trip to the South Bronx