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 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.
In the paintings of Silke Otto-Knapp and Lynette Yiadom-Boakye, there's an unending entanglement, and dialogue, between the present and the past.
Most of what we think we see in the photos and films of Laurel Nakadate is our own projection.
Tibor de Nagy’s Painters & Poets; Bill Berkson’s For the Ordinary Artist; William Corbett’s Albert York.
Radiant and obscure, the art of Lynda Benglis and David Hammons has a way of hiding itself.