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.
The New Yorker's art critic turns his eye toward the cultural summits.
An exhibition looks at the bits and pieces that made up some of the great artwork of Californian artist Jess.
A tour of the New York art galleries reveals a number of talented artists exploring the possibilities of "bad" representational painting.
Gustave Courbet's blunt pictorial style and taciturn sensibility prefigured the ambivalence and photographic exactitude of modern painting.
The best location for Lawrence Weiner's conceptual art is in the viewer's own imagination.
Taking stock of the new New Museum.
Museums can't get enough of Kara Walker, whose silhouettes of the history of slavery seem to be a nightmare she's trying to enjoy.
Reconsidering the life and legacy of avant-garde artist and poet Francis Picabia.
Gordon Matta-Clark's art displays how empty spaces illuminate the structures they are housed in.
Diego Velázquez was a restless innovator, a painter who slyly revealed the ordinariness of his exalted subjects--one is almost tempted to call him modern.