Word: liberman
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Dates: during 1970-1979
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...been so long since one of the juvenile leads of '60s New York art was seen, at a party, to peer at one of Alexander Liberman's painted steel sculptures and snicker, "Huh! Vogue fingernail red!" A common prejudice: for years Liberman has borne the reputation of having too much grace under too little pressure. He is accused of having a "designer's eye." Spelled out, this means that Liberman is good at reeling off elegant solutions to undemanding formal problems but has no very striking imagination of his own. Besides, he is editorial director of Conde...
...result of all this, Liberman has for some time been one of the most underrated artists working in America; and though his sculpture has lately been getting some overdue recognition, his painting rests in a kind of limbo. This, as his current exhibition at Manhattan's Andre Emmerich Gallery indicates, is a considerable injustice...
Crafted Skin. The show consists of Liberman's abstract paintings on the motif of a circle, done between 1950 and 1961. It is old work and put there to make an argument. Liberman, by and large, was left out of the accounts of New York art in the '50s; the very look of his paintings tells why. Rather than the complicated, relational colors of much abstract expressionism, Liberman used plain primaries. Instead of free drawing, he used ruler and compasses. Rather than drips and splashy brushwork, he went in for the most even and perfectly crafted skin...
...Times, which seven years ago designated a senior staffer as ombudsman-the person in charge of reviewing readers' complaints about fairness and accuracy. The Milwaukee Journal's "reader contact editor," David Runge, fields written and telephoned protests and asks reporters to provide proof for disputed articles. Cy Liberman. "public editor" of the Wilmington (Del.) News-Journal, writes an independent daily column that has recently slammed his papers' coverage of a proposed downtown mall as "too negative...
That density is the oxygen of outdoor sculpture. It is why Claes Oldenburg's 18-ft.-high red steel Geometric Mouse, Scale X looks convincing on its beach, and why Alexander Liberman's Argo is the most successful combination of work and site in the entire show. The white sails, cylinders and arcs simultaneously evoke an archaic temple precinct and a ship, while running a counterpoint to the real spinnakers billowing on the sea below; they turn a flat site, for a moment, into a reminiscence of the Aegean. It becomes increasingly clear that Liberman, along with Mark...