Fall brings new sculptures and new exhibits. Ken Johnson examines the opening of the Crystal Bridges Museum of American Art in Bentonville, Arkansas. Randy Kennedy discusses the De Wain Valentine and his newest sculpture that was featured at the J. Paul Getty Museum.

Johnson captivates the reader by the first paragraph. However, after Johnson builds up the context for the Crystal Bridges Museum, he follows it up with more description. He doesn’t put in any of his opinions as he introduces the anticipated works by notable artists. Johnson does not make an effort to elaborate on Denver Art Museum, “the boxy, two-story, 28,500 square-foot building.” He does a better job previewing the museums than he does reviewing. Perhaps I have assumed too quickly and the museums do not permit reviewers from disclosing any information about the artworks in the exhibits.

"A 3,500-pound, 12-foot-tall column made of solid cast polyester resin, one of De Wain Valentine's most ambitious pieces, on display at the J. Paul Getty Museum." (Konrad Fiedler for The New York Times)

While Kennedy’s writing lacks the enthusiasm I look for in a critic or reviewer, he provides a stance in his writing. He inputs some of his opinions and I can understand where he approaches De Wain Valentine’s “Gray Column.”  He compares the monolith to a “looming interplanetary sentinel,” which gives Kennedy’s voice a personality. He proceeds to call Mr. Valentine a “daring pioneer” for using unlikely art materials. I enjoyed the storytelling he divulges into after discussing the sculpture itself. Kennedy zooms in on moments of Mr. Valentine’s “exacting and expensive work.”

In comparison to Johnson, Kennedy exceeds him because his writing style is more effective in transmitting feelings about the subject discussed. Kennedy diverges on different paths about a subject, covering who’s involved, what’s displayed, when it’s available, where it’s located, and why it’s so significant.