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.
When collecting works of avant-garde art, Albert Barnes and Leo and Gertrude Stein seemed even madder than its makers.
Chockablock with art, art fairs are essentially authorless.
When is a little more than enough in a painting?
Feedback on the April 23 issue: praise for Elizabeth Warren, Jonathan Schell and Katniss Everdeen, and an Italian lesson for Barry Schwabsky.
Opposites collapse in the work of the Shaman-Showman of contemporary Italian art.
How Renaissance painters brought human presence to the fore.
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.