Frick Museum installed at the Breuer Whitney

Eri Iwasaki at Seizan Gallery

July 13, 2023

Seizan Gallery, 2023 Summer Group Show, New York, New York,

Iwasaki is using the traditional Japanese material palette of Nihonga, although her leaf work is delicate, detailed flowers and flowing forms. The portraits are young women with an almost manga-like expressive quality

Contemporary Art, Painting, Sculpture

Anish Kapoor

November 2, 2023

Lisson Gallery, New York, New York, November 2 – December 16, 2023

Okay let’s get to the paintings first, because… they are so, so BAD. Poorly drawn, acid combinations of colors that frankly would probably not be exhibited without considering the artist’s established reputation as a sculptor. Many painters and sculptors that cross over into the other’s discipline fail to make powerful works in the alternative medium and that’s okay, they can be interesting failures. And every once in a while, an artist can pull it off (Sara Sze comes to mind since she was recently exhibited in this very room).

On a brighter note the sculptures are intriguing as objects. This is the first exhibit of Anish Kapoor’s trademark gimmick, the Vanta Black pigment that approximates absolute black. The spatial effect of light dying into a form is quite interesting. One work is a rough pile of the stuff heaped on the floor, and the mounds of form and contour can only be seen as silhouette. As you walk around the piece you see that it must have misshapen lumps here and there but they can only see them as a perimeter outline – the light does not reflect back to allow you to perceive any other spatial depth looking into the form itself.

The effect works almost as well in the other pieces, which are simpler form and have different formal interests in absorbing the ambient light. They are interesting, but seemingly one liners and these pieces might not be anywhere near the heights of great art. I can’t imagine, for instance, the idea of their having an influence on another generation of artists. They feel like a dead end.

Such is the power of these miserable paintings that they affect my evaluation of the more familiar sculptures presented here – maybe this is unfair but it’s hard to swim hanging on to an anchor. I try to only review exhibits that I like, and so why include this one? As I said the Vanta Black creates an interesting object, and it’s worth considering. There is perhaps a difference between an interesting object and a worthy work of art, and if it weren’t for the paintings I would consider that.

Anish Kapoor was born in 1954 in Mumbai, India, and works in London and Venice. He currently is exhibiting the show “Untrue Unreal” in the Palazzo Strozzi, in Florence.