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.
MoMA’s monumental exhibition recalls the time when abstraction affected people like love or revolution.
How working in hotels led Henri Matisse and Ian Wallace to rediscover the intoxicating purity of light.
The Canadian artist who transformed the Vancouver art scene.
Why two artists use a printer to make paintings without using paint.
Richard Tuttle’s sculpture seems to proclaim “No spirit but in things.”
The shadows were the elective habitat of the artist Bruce Conner, who thought true knowledge was shrouded in secrecy.
The Collected Writings of Joe Brainard.
Does a sculptor destroy things or merely change them?
Steeped in anthropology and art history, this summer’s big shows are occasions for talk instead of exploring art that reaches the unsaid.
When collecting works of avant-garde art, Albert Barnes and Leo and Gertrude Stein seemed even madder than its makers.