Peter AchesonBy John Yau
In scale, Peter Achesons untitled, abstract paintings and watercolors range from diminutive to small. In fact, one could reproduce all of Achesons paintings actual size in a catalogue that would fit comfortably on someones lap.
Queens International 2004By Chris Howard
Sandwiched between last summers Open House: Working in Brooklyn at the Brooklyn Museum and P.S.1s upcoming Greater New York 2005, the Queens International 2004, the second of a recently inaugurated biennial surveying work by artists living and working in the borough, will have most likely been overlooked by both audiences and critics.
Ouverture: Young contemporary artists from Emilia Romagna in New YorkBy Antony Hudek
Little more than a block away from the construction site of the World Trade Center, on the second floor of a low-rise building oddly mismatched with its towering corporate surroundings, Ouverture is essential and urgent viewing for anyone concerned with the role of politically-conscious art on the threshold of Bushs second term.
Tamara GonzalesBy Katie Stone
I first saw Tamara Gonzaless new show the night of the winter solstice. It was an appropriately blustery evening, and by the time I arrived, the gallery doors were fogged over from the warm breath of conversation.
Klara LidenBy Nick Stillman
Two rectangles of spidery broken glass act as a forbidding anti-decoration on a street-facing windowsill. A couple glass chunks, obviously freed from these larger bodies, are scattered hazardously about the rust-stained floor, which is made of ugly linoleum.
Thomas LendvaiBy William Powhida
Perception is the departure point for Thomas Lendvais brilliant installation, A series of nows (2005), at Plus Ultra. Using a sequence of wooden beams, Lendvai creates a kind of slanted drop ceiling that spans the gallery space.
Katherine BradfordBy James Kalm
Ether Nights is the title of this exhibition of recent paintings by Katherine Bradford, and one of the overarching themes is the idea of illumination, enlightenment, or the bringing forth from darkness. In these compositions Bradford is not only devising images that use the physical presence of light as a feature player, but she creates narrative metaphors reflective of a spiritual or intellectual enlightenment as well.
Charles GarabedianBy Ben LaRocco
Its hard to overlook the awkwardness of Charles Garabedians exhibition at Betty Cunningham Gallery. Seams and wrinkles in the canvas, ill-framed images, and inarticulate brushwork are all evident.
Jason Cole Mager, Michael Yinger, and Jeffery KilmerBy William Powhida
A trio of young men comprise a show that hovers between angst and the desires that fuel their acute anxieties. Jason Cole Mager was asked to select two artists whose work would compliment his own.
Traces EverywhereBy Ben LaRocco
The measure of a group show might be given in the quality of the narrative it constructs. According to these terms, a good group show could successfully elaborate, say, contemporary trends in abstraction or the history of figurative painting in England.
John LurieBy Hrag Vartanian
A founding member of the musical group Lounge Lizards, John Lurie isnt well known as an artist, but his latest show at Roebling Halls small Chelsea space showcases a rich style that is also infused with irony.
The Book as Object and PerformanceBy Thomas Micchelli
Is it fair that an exhibition devoted to the book ends up reaffirming the vitality of contemporary video?
Calder/MiróBy Stephanie Buhmann
After comparing selections from the oeuvres of Alexander Calder and Joan Miró in an exhibition co-organized by the Fondation Beyeler, Basel, and the Phillips Collection, it might be impossible to ever study either artists work again without thinking of the other.