Through March 23. Gagosian Gallery 555 West 24th Street, Manhattan; 212-741 1111, gagosian.com.
It’s fashionable to ridicule Georg Baselitz, one of the richer white male painters around, especially since he opined in an interview in 2013 that female painters could not summon the brutality necessary for greatness or at least market success. But the market is a suspect measure. And while something like brutality definitely figures in ambition and originality, it can’t be limited to male definitions, which is too bad for men and not the problem of women.
[Read about what to see during Asia Week New York, running through March 23.]
It’s tempting to respond to such ignorance by shunning the artist, but that matches know-nothingness with more of the same, and certainty with certainty. I recommend “Devotion,” Mr. Baselitz’s exhibition at Gagosian, for its gnarly ink drawings based mostly on self-portraits by other painters. These portraits of self-portraits combine automatic drawing and caricature with riffs on the styles of their sources, be they Henri Rousseau, Willem de Kooning or Andy Warhol, revealing a talent for mimicry that might be the artist’s strongest. The heads are inverted as usual, blending the artist’s fusion of abstraction and representation with unusual vehemence. They have an eruptive sardonic energy; devotion mixes with a sharply humorous misanthropic edge.
All artists create fictive worlds that help them survive. This includes floating uninformed, attention-grabbing opinions — like, say, Donald Judd’s insistence on painting’s death. The exhibition suggests that Mr. Baselitz may be walking his position on female painters back a little bit, if far from enough. For example, he might have included Frida Kahlo, an unblinking self-portraitist. But he’s added Joan Mitchell, Nicole Eisenman and Tracey Emin to two painters he has previously mentioned: Paula Modersohn-Becker and Cecily Brown. And three of the five living artists in the show are female and also the youngest. That says a great deal about where the future of the medium lies. ROBERTA SMITH
Through March 30. Ryan Lee, 515 West 26th Street, Manhattan; 212-397-0742, ryanleegallery.com.
There’s no shortage of contemporary art being made about President Trump, but it can be hard to find work that feels insightful. “Little Men,” an exhibition at Ryan Lee gallery, offers a useful reminder: Some of the sharpest commentary on present-day issues can come from the past.
In 1965, the artist, educator, and activist Vivian Browne (1929-1993) began a series titled Little Men. Considered her first major body of work, it consists of oil and acrylic paintings of white-collar middle-aged white men, 14 of which are on view at Ryan Lee. They’re dressed in button-down shirts and ties, but they don’t act professionally; instead the men suck their fingers, touch themselves, dance and wail.
The figures are nondescript, Everyman types — an impression bolstered by the way they’re painted, in muted colors and with thick, expressionist strokes that blur them almost to the point of becoming apparitions. “Little Man #102” (1967) is a screaming conglomeration of passages of energetically applied paint, his head dissolving into lighter tones and the neutral background. The pièce de résistance of the show is “Seven Deadly Sins” (circa 1968), a frieze of ghoulish types lost in their own afflictions.
Ms. Browne’s work can look sketch-like, but it is carefully considered. As a member of the Black Emergency Cultural Coalition and the black women artists’ collective Where We At, she saw firsthand how such white men were powerful, common and utterly unexceptional. She knew they represented a societal problem beyond themselves. And she took up parody and painting to give it a form. It’s remarkable just how current this 50-year-old series feels today, as we continue to contend with “little men” who insist loudly that they are big. JILLIAN STEINHAUER
Through April 6. Jenkins Johnson Projects, 207 Ocean Avenue, Brooklyn; 212-629-0707, jenkinsjohnsongallery.com.
In “New World,” Enrico Riley’s exhibition at Jenkins Johnson, the title could refer to a variety of things: the historical distinction between Europe or Africa and the Americas; arriving in a foreign land; and fresh states of being. Part of Mr. Riley’s strategy is to keep you guessing, allowing the paintings to be open-ended enough that you will stand before them looking, pondering and occasionally grimacing.
Boats, water and black figures appear frequently, often in fragmented form. This suggests that “New World” refers to the notorious Middle Passage of the slave trade and the transportation of African people to the Americas. Names like “Untitled: Crepuscular, New World Old Game” (2018) and “Untitled: Martyr, Into the Hold” (2018) suggest a continuation of these oppressive practices, as do the sight of bound feet, glimpses of ships and an arm and hand dangling from a broken car window.
Mr. Riley combines the round, bubbly drawing of comics and cartoons with the rigor of painters like Philip Guston, who offered a similar psychic collision between difficult subject matter and user-friendly presentation. Sometimes, all seems right in Mr. Riley’s new world. Maybe the faceless figure wearing a bowler hat and reading a newspaper in “Untitled: Castaway, Lost at Sea” (2018) is just out for an afternoon cruise. Perhaps the crowned figure consulting a map or nautical chart in “Untitled: Destination, New World, Carrier of Dream” (2018) is a monarch in a fairy tale that ends well. Given Mr. Riley’s deadpan delivery and a number of clues, however, positive outcomes feel less likely. MARTHA SCHWENDENER
Through April 11. Pratt Institute Libraries — Brooklyn Campus, 200 Willoughby Avenue; 718-636-3420, https://www.pratt.edu/events/
The artist and publisher Pamela Colman Smith died in obscurity in 1951, at 73, and is mostly remembered for illustrating the widely used Rider-Waite-Smith tarot card deck. An overdue retrospective, “Life and Work,” which lines three levels of a Victorian stairwell at Pratt Institute Libraries, shows how much more Ms. Smith accomplished. The curators Melissa Staiger and Colleen Lynch have gathered examples of her book and magazine illustrations, paintings and theater set and costume designs, all flavored with Art Nouveau and the stirrings of surrealism.
Ms. Smith was born in London to American parents and spent her childhood shuttling between England, the Caribbean and Brooklyn. She studied art at Pratt, and by her mid-20s had won acclaim for illustrating books of Jamaican and Irish folk tales and issuing her own magazine of ballads and legends, “The Green Sheaf.” She traveled in literary and artistic circles, painting portraits of the British actress Ellen Terry and illustrating horror stories for the novelist Bram Stoker. Alfred Stieglitz’s Manhattan gallery showed Ms. Smith’s eerie watercolors of mermaids and waterfront cliffs concealing gargantuan deities. (His leftover inventory is now at Yale).
Ms. Smith (who is the subject of a new monograph from the publishing company U.S. Games Systems) pursued studies in the occult, too, joining a group called the Isis-Urania Temple of the Hermetic Order of the Golden Dawn. In recent decades, tarot devotees, intrigued by the initials “PCS” on each card, have spearheaded the rediscovery of her work.
The mazelike display at the Pratt show suits Ms. Smith’s enigmatic art, but it feels cramped. This tribute to a prolific experimenter deserves to be expanded and brought out of the stairwell. EVE M. KAHNB:
2017六给彩开奖结果查询【李】【二】【陛】【下】【看】【出】【胖】【儿】【子】【的】【疑】【惑】，【微】【抿】【嘴】【角】【淡】【淡】【一】【笑】，【说】【道】：“【是】【齐】【霖】【为】【其】【师】【所】【刊】【印】【的】【医】【书】【惹】【的】【祸】，【孙】【道】【长】【看】【过】【之】【后】，【前】【来】【找】【齐】【霖】【理】【论】【的】。” 【理】【论】？【是】【兴】【师】【问】【罪】【吧】？ 【李】【四】【胖】【苦】【笑】【了】【一】【下】，【说】【道】：“【只】【是】【齐】【霖】，【怕】【是】【难】【以】【招】【架】【吧】？” 【李】【二】【陛】【下】【嘿】【然】【而】【笑】，【说】【道】：“【那】【不】【正】【好】。【徒】【弟】【不】【行】，【师】【傅】【就】【该】【上】【场】【了】【吧】？”
【宋】【澈】【派】【出】【了】【一】【支】【精】【锐】【小】【队】【人】【趁】【着】【黑】【夜】【去】【营】【救】【俘】【虏】，【宋】【澈】【的】【人】【在】【敌】【军】【的】【马】【厩】【燃】【了】【一】【把】【火】。 【马】【饲】【料】【多】【为】【干】【草】【压】【成】【捆】【堆】【放】，【这】【么】【突】【然】【毫】【无】【防】【备】【的】【火】【苗】【窜】【天】，【让】【敌】【方】【乱】【了】【阵】【脚】。【宋】【澈】【遥】【望】【远】【处】【一】【簇】【火】【光】，【只】【盼】【着】【进】【行】【的】【顺】【利】【些】！ “【派】【出】【去】【接】【应】【的】【人】【出】【发】【了】【吗】？”【宋】【澈】【担】【忧】【的】【询】【问】。 “【都】【出】【发】【了】，【王】【爷】【您】【放】【心】！【我】【们】【打】
【余】【秋】【问】：“【刚】【才】【那】【伙】【人】【是】【什】【么】【人】【啊】？” 【林】【风】：“【不】【知】【道】，【我】【又】【不】【是】【百】【晓】【生】。” 【余】【秋】【说】：“【可】【是】【你】【好】【像】【和】【絮】【叨】【客】【很】【熟】【啊】。” 【林】【风】【问】：“【和】【他】【熟】【并】【不】【代】【表】【认】【识】【他】【们】【啊】，【还】【有】【你】【怎】【么】【知】【道】？” 【余】【秋】【分】【析】：“【我】【们】【同】【学】【都】【在】【说】，【我】【们】【倾】【楼】【好】【像】【在】【【絮】【叨】【说】【江】【湖】】【中】【全】【是】【赞】【美】【的】【话】，【而】【且】【絮】【叨】【客】【对】【我】【们】【倾】【楼】【好】【像】【很】
【这】【一】【幕】【浮】【现】，【最】【先】【激】【动】【的】【反】【而】【不】【是】【场】【上】【的】【选】【手】，【而】【是】【直】【播】【间】【里】【面】【的】【观】【众】【们】。 “【这】【算】【什】【么】？【两】【个】【狙】【神】【之】【间】【的】【战】【斗】【吗】？” “【之】【前】【大】【家】【都】【在】【说】【图】【拉】【夫】【是】【真】【正】【的】【狙】【神】，【其】【实】【洛】【神】【的】【狙】【玩】【的】【也】【不】【错】【啊】。” “【是】【啊】，【之】【前】【好】【几】【次】【盲】【狙】、【瞬】【狙】，【都】【把】【人】【给】【吓】【傻】【了】。” “【这】【下】【子】【算】【是】【好】【看】【了】【啊】。” “【也】【不】【知】【道】【洛】【神】【到】2017六给彩开奖结果查询【大】【殿】【门】【口】【有】【十】【余】【名】【筑】【基】【期】【的】【守】【殿】【弟】【子】，【一】【见】【余】【刑】【二】【人】，【自】【然】【恭】【恭】【敬】【敬】【的】【上】【前】【见】【礼】，【有】【几】【人】【更】【是】【忍】【不】【住】【的】【不】【停】【偷】【瞅】【余】【刑】【几】【眼】。 【余】【刑】【眉】【头】【一】【皱】，【鼻】【中】【轻】【轻】【一】【哼】。 【此】【哼】【声】【别】【人】【听】【到】【耳】【中】【似】【乎】【平】【常】【之】【极】，【但】【落】【入】【那】【几】【名】【偷】【看】【的】【弟】【子】【耳】【中】，【却】【犹】【如】【晴】【天】【霹】【雳】，【将】【这】【几】【人】【震】【的】【心】【惊】【胆】【颤】，【急】【忙】【低】【首】【下】【去】，【不】【敢】【多】【看】【一】【眼】。
【旁】【边】【的】【赵】【澜】【听】【了】【也】【是】【心】【痒】【难】【耐】，【急】【声】【道】：“【师】【座】，【副】【师】【座】，【这】【是】【真】【的】？” 【陶】【柳】【闻】【言】【一】【愣】，【对】【钟】【光】【仁】【说】【道】：“【光】【仁】【兄】，【你】【说】【姓】【钟】【的】【会】【不】【会】【耍】【我】【们】？” 【钟】【光】【仁】【闻】【言】【却】【是】【一】【摆】【手】，【说】【道】：“【师】【座】，【这】【不】【会】，【我】【那】【本】【家】【跟】【咱】【们】【第】【十】【集】【团】【军】【的】【关】【系】【虽】【然】【恶】【劣】，【但】【是】【为】【人】【还】【是】【可】【以】，【他】【说】【的】【话】【就】【一】【定】【会】【兑】【现】，【他】【说】【过】【要】【送】【来】【五】
【对】【待】【人】【和】【事】【都】【有】【自】【己】【一】【套】【处】【理】【办】【法】。 【不】【知】【道】【南】【寻】【是】【南】【离】【辰】【时】，【她】【只】【觉】【得】【他】【真】【有】【风】【度】，【尽】【管】【成】【绩】【不】【凡】，【待】【人】【依】【旧】，【知】【道】【他】【是】【南】【离】【辰】【后】，【她】【更】【欣】【赏】【他】【了】，【有】【南】【家】【掌】【权】【人】【的】【身】【份】【撑】【着】，【还】【如】【此】【谦】【逊】，【这】【已】【不】【能】【用】【风】【度】【来】【笼】【统】【概】【括】，【这】【是】【一】【个】【人】【骨】【子】【里】【的】【教】【养】【在】【作】【祟】。 【他】【是】【个】【好】【男】【人】，【这】【点】【毋】【庸】【置】【疑】。 “【你】【的】【脚】【怎】【样】
【至】【今】【记】【得】，【在】【医】【院】【里】，【叶】【弥】【浑】【身】【是】【血】【的】【模】【样】，【就】【那】【么】【一】【动】【不】【动】【的】【躺】【在】【病】【床】【上】，【呼】【吸】【弱】【不】【可】【闻】，【仿】【佛】【随】【时】【会】【离】【开】【这】【个】【世】【界】。 【抚】【上】【苍】【白】【的】【脸】【颊】，【他】【的】【手】【在】【微】【微】【颤】【抖】。 【鬼】【生】【漫】【漫】，【第】【一】【次】【感】【到】【害】【怕】。 【原】【来】【她】【会】【死】。 【吞】【天】【箭】【贯】【穿】【身】【体】【的】【时】【候】，【一】【定】【很】【疼】，【这】【么】【多】【支】【透】【骨】【而】【过】，【她】【是】【怎】【么】【扛】【下】【来】【的】？ 【本】【可】【以】【和】