|de Chirico, I due soli, 1969|
Both de Chirico and Baselitz attempt to recover their essence - Baselitz says he tries to recover artists of the past from their Zeitgeist, but the later work of the two does so through art-historical reference. Though Artaud is perhaps the strongest influence in Baselitz, Riopelle's "Artaud yes, Picasso no" declaims the battles with dead painters in castles that the elderly Baselitz shares with the elderly Picasso. Here Baselitz does battle with Hokusai, pairing renditions of the 18thC master's self-portrait with previously used motifs.
980 Madison also has the winking Elie Nadelman - Joseph Cornell pastiches of H.C. Westermann at Venus, which is showing a tendency for the one-off jokes. The Enrico Baj show is ending too. At 130 64th St. the absence of gallery markings on Gladstone's address befit its current contents of Pierre Klossowski's large scale pencil drawings of various Sadean hijinx, a few doors from three floors of 1990s Thornton Dial. Gladstone's Chelsea room is filled with Tinguelies (sp?) that you can activate with your foot.
|Adolf Wölfli, Untitled, 1924|
Also around here, but ending later, all Piri' Miri Muli' recommended and possibly resulting in more typing at this url is Peter Doig at Werner, Motherwell's Elegy to the Spanish Republic variations at Levy, and Julie Ault at Buchholz; Westside: Dubuffet's Art Brut collection at the Folk Museum (above); in Midtown: Matta at Pace, Torres-García at MoMA, and F.N. Souza's and Sunil Das' Indian working girls at DAG Modern - inspired but no match for Andrea del Sarto's Magdalene at the Frick.
|Study of the Head of a Young Woman, ca. 1523|
Continuing on the theme Alban Berg's Lulu is painted with ink on dictionary pages by Kentridge, joined by Freud, Berg, Mahler, and what I think is Adorno and Schoenberg at Marian Goodman's on the 3rd floor, where Szoke has Picasso and Munch prints up down the hall. Up a floor is the more direct theatricality of Jeff Wall.