Barry Schwabsky

Michael Fried, who is also a poet, has a dense, self-questioning, fervent prose style. Somewhat perversely he has, over the last three decades – that is, since his doctoral dissertation on Manet was printed as a special issue of Artforum in 1969 – put this prose to the service of art-historical scholarship. It might have been otherwise. While still in his twenties Fried had become...

One of the subtlest and most entrancing of Bridget Riley’s early paintings, Static 2 (1966), consists of a field of black spots arranged in a pure grid, 25 by 25, across a white square. Static, as the title says, and yet the painting isn’t inert: a lovely sense of inner movement is conveyed by the way the spots, which are not pure circles but mildly oval, are systematically shifted...

Frank Stella once complained about what he saw as a kind of timidity in Italian painting before Leonardo, something ‘in the acceptance of commissioned configurations, in the attitude towards covering a given surface that held painting back … Artists before Leonardo accepted the given surface and made the best of it.’ Today, it seems to me, artists who make installations...

Luc Tuymans’s painting Altar (2002) depicts a wedding chapel in a Mormon temple. It’s a space that only church members are allowed to enter, so – as Ralph Rugoff recounts in the catalogue to the retrospective of the Belgian painter’s work at Bozar, the Palais des Beaux-Arts in Brussels (until 8 May) – Tuymans based the painting on a photograph taken by a...

Could​ anything be more unexpected, in the world of art criticism, than the appearance of a book by Rosalind Krauss on Willem de Kooning? Krauss is a wide-ranging critic and historian of modernism, the author of an influential book on Picasso, but she has been associated above all with minimalist and post-minimalist sculptors of her own generation or slightly older – figures such as...