Peter SCHJELDAHL
10 articles
Poets and Painters as Painters and Poets; Poets and Painters
By Peter SCHJELDAHL
COLLABORATION between painters and poets is one of those unprecedented phenomena that make "modern art" such a catchall category. An exotic hybrid of the two loneliest and traditionally "highest" arts, it could scarcely have flourished outside the hothouse of the modern avant garde -- the communities of innovating artists, uncertain or suspicious of their audience, grouped in the more cosmopolitan cities.
New York Times • page D17 • 1,291 words
Enter Demons and Angels; Enter Demons and Angels
By Peter SCHJELDAHL
NEW YORK is fortunate this month to have simultaneous shows of work by the two Grand Masters of American painting, Willem de Kooning and Jackson Pollock. Inevitably, the long-awaited de Kooning extravaganzas at the Museum of Modern Art and Knoedler's have overshadowed the Pollock exhibition at the Marlborough-Gerson Gallery, but the latter is, in its limited way, no less significant and stirring.
New York Times • page D27 • 1,034 words
' Boxie Was a Cutie Was a Sweetie Was a Blondie Was a Pootsy'
By Peter SCHJELDAHL
THE effect the socalled Sexual Revolution on art has so far been relatively inconspicuous, perhaps because art has been having its own continuing sexual revolution for nearly half a century, dating from the first great works of Surrealism.
New York Times • page D23 • 1,093 words
From Stuffed Camels to Clam Shells
By Peter SCHJELDAHL
THE four paintings and especially the one huge sculpture by Nancy Graves now on view at the Museum of Modern Art -- thanks to the Modern's laudable "Projects" series of small exhibitions of new work by young artists -- comprise an odd show.
New York Times • page D25 • 938 words
If Not Timeless, It's At Least Open-Ended
By Peter SCHJELDAHL
IT has been nearly six years since a famous exhibition at the Jewish Museum, "Primary Structures," confirmed "Minimal" sculpture as the premier avant-garde movement of the day and brought renown to a little-known artist named Ronald Bladen.
New York Times • page D21 • 1,053 words
Down Memory Lane to the Fifties
By Peter SCHJELDAHL
TO visit the new exhibition called "Abstract Expressionism: The First and Second Generations'' at the Albright-Knox Art Gallery in Buffalo is to take a trip in time as well as space. The time is the 1950's a the panoramic view, 56 paintings by 51 painters, is of Abstract Expressionism -the homegrown movement that swarmed out of postwar New York to storm the world-at its roughest and readiest.
New York Times • page D23 • 1,067 words
Two 'Projects' That Project
By Peter SCHJELDAHL
DURING the past season, the Museum of Modern Art has conducted an exhibition series called "Projects" devoted to work by young, avant-garde artists. Though a fine, bold under-taking, the series has failed to generate much excitement. Indeed, the frailty and confusion of nearly all the "Projects" shows mounted so far have come to seem virtual leitmotifs, like insistent whispers to the effect of something like "This is what's happening, alas!"
New York Times • page D19 • 923 words
EXHIBITION
Philadelphia in New York: 90 Modern Works from the Philadelphia Museum of Art
PUBLISHED
29 October 1972
When Modern Art Was Alien -- and Shocking
By Peter SCHJELDAHL
" GOD," an assemblage perpetrated in 1918 by the little-known American dadaist Morton Schamberg, is scarcely one of the crowning highlights of "Philadelphia in New York," a magnificent new exhibition of 90 modern works loaned to the Museum of Modern Art by the Philadelphia Museum of Art.
New York Times • page D25 • 921 words
Just This Side of Non-Existence
By Peter SCHJELDAHL
THE Museum of Modern Art's two-year-old series of small "Projects" exhibitions by contemporary artists has been a laudable effort to keep up with the changing avant-garde.
New York Times • page 25 • 1,199 words
The Sheridan-Smith Show: A Misalliance of Art and Technology; A current Museum of Modern Art show is 'an artistic flop,' but 'evidence that art exploiting technical gimmickry gets museum attention'
By Peter SCHJELDAHL
THE Museum of Modern Art's latest "Projects" exhibition of avantgarde work-this one by two Illinois artists, Sonia Landy Sheridan and Keith Smith-is an artistic flop. It is interesting, however, as evidence that art that exploits new technical gimmickry is proving to be a remarkably hardy species, especially when it comes to getting museum attention. This phenomenon is worth looking into.
New York Times • page 23 • 957 words