The Easel

20th October 2026

New Show, Same Lichtenstein

Jerry Saltz | Vulture | 16th October 2026

Lichtenstein changed art by re-creating images drawn from comic books and advertising. His use of these images was, he explained, “not to reproduce it … I do it in order to recompose it”. His anticipation of industrially produced imagery (think AI) reflected what one writer calls “a singular human perception that rivalled Cézanne’s”. While acknowledging his enormous influence this writer says Lichtenstein feels too familiar – “new relevance does not necessarily produce new revelation”.

Isamu Noguchi: ‘I am not a designer’ at High Museum of Art

Kristin Nord | Antiques and the Arts | 24th March 2026

A previous show of Noguchi lights and tables was dismissed by one critic as “clever but harmless”. A new, more expansive show positions him differently – as someone who combined sculpture, architecture, landscape, and civic projects into a single practice. His definition of sculpture, for instance, included some of what we now call design. For him, collaboration and “in-betweenness” were natural ways to work, something institutional narratives miss. “Noguchi’s work feels uncannily contemporary”.

13th October 2026

Four Art Critics Walk Into a Bar… and Debate the Met’s Pollock-Krasner Retrospective

Julia Bryan-Wilson Jarrett Earnest Johanna Fateman David Rimanelli | Cultured | 7th October 2026

Fascinating. The many agendas surrounding these artists – marriage, relative abilities, self-sacrifice – give this show sizzle. Krasner’s work stalled in the 1940’s so she focused on promoting Pollock. His works in that period dominate. After the early 1950’s, he hit a dry patch. Following his death, Krasner’s works show a “magnificent grace”, and she emerges from this show much enhanced. One critic observes “without Krasner, we don’t have Pollock. [And yet] the one thing they do together [a collage] is terrible”

Older links