To wrap up from last time, Ben Shahn has fallen out of favor regardless—and not just because art moved on to abstraction. Nor is it that he refused the past century. That sketch of existentialists approaches the stark, jumbled planes and predominant reddish blue of Analytic Cubism. It just happens to take until the 1950s […]| HaberArts: New York Art Reviews
To pick up from last time, everything about Ben Shahn was serious, least of all The Passion of Sacco and Vanzetti. No sooner had he completed that series, with twenty-three paintings, but he began another, of an Irish American labor leader convicted of a fatal bombing. The first painting has entered the Whitney Museum and […]| HaberArts: New York Art Reviews
From the tall classical columns, you know this is serious business. You know it, too, from the men in black. The three men stand somberly and rigidly, the shortest man in academic robes. The other two wear black suits with tall black hats. They hold lilies, proclaiming their innocence. Their faces reveal nothing, but something […]| HaberArts: New York Art Reviews
Reviews of New York City art galleries and museums, from the Renaissance and art history to modern and contemporary art| HaberArts: New York Art Reviews