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.
For the photographer Thomas Demand, Germany is like any other country because it is haunted by history.
Upper Marlboro, Md.
Jack Tworkov's writings wrestle with the figures of Abstract Expressionism and his own lost illusions.
Does the art of Dan Graham and his disciples promise deceptive simplicity or formulaic thinking?
The funky chaos of the 2009 Venice Biennale.
Do images understand us, the Pictures generation asked, more than we understand them?
Pierre Bonnard's late still lifes, on view at the Met, are lessons in unknowing.
Barbara Guest's Collected Poems showcase her knack
for catching sight of time in its act of escaping one's grasp.
The paintings of Marlene Dumas, at the Museum of Modern Art, and Barkley Hendricks, at the Studio Museum of Harlem.
Democratic Camera: William Eggleston's grand and gorgeous retrospective at the Whitney Museum.