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.
Zoe Strauss has turned the streets of Philadelphia into a museum for her photography.
An artist known as a trickster and showman stages a disappearing act at the Guggenheim.
Does the content of a demonstration always exceed and fall short of its ostensible message?
An obscure dissatisfaction, a sense that no formal solution works for long, is shared by the art of Ida Ekblad and Edvard Munch.
MoMA’s de Kooning retrospective.
The aesthetic illusions of a Korean artist.
A visit from Warren is a test of hospitality: you don’t take him in, you take him on.
This year's edition of the Venice Biennale sinks under sprawl and overfamiliarity.
Has success spoiled the photography and the art of Jeff Wall?
Édouard Manet has become a popular painter, yet he remains a difficult and unpredictable one.