A curator, painter, teacher, historian, and builder of private art collections (including those of Bill Cosby and Oprah Winfrey), David Driskell has spent a lifetime using the language of art to reflect African-American history.
Daina Higgins paints in a photo-realist style that is approaching virtuosic. New Paintings, her fourth solo show at Elizabeth Harris Gallery, includes nine new works in a variety of modest sizes, the oddest being as long and skinny as a plank.
Lois Dodds great gift as a painter is her ability to pose complex questions without seeming to try.
While the interstitial concern between the two-dimensional work of James Brooks and Dan Flavins fluorescent constructions is light and its perceptual characteristics, as well the two artists friendship and mutual respect, their procedures and chosen media could not be more divergent.
Wandering through the New York portion of Damien Hirsts global extravaganza Spot Paintings, I found myself thinking of Dutch tulips and sub-prime mortgages.
Obsessive and compulsive are two words that immediately and inevitably come to mind when one views Lori Ellisons work. While apt, these words alone do not do her art justice.
The talented Georges Hugnet (1906 1974) played many roles, including those of poet, editor, publisher, translator, rare book collector, and designer of fine book bindings (not to mention filmmaking and acting), ample evidence of which appears at the Ubu Gallery.
Dark Christmas, at Leo Koenig, gives us an alternative view of the holidaysomething like The Grinch Who Stole Christmas meets Caligula.
Here is a chance to walk through an entire strand of Ellsworth Kellys long and productive careernot yet definitive, because (at 88) he is still adding to it.
Monotypes are all about touch. Malcolm Morley has one. Several, actually.
Five Works from the Collection of Albert Murray only leaves one wishing that a larger exhibition of Murrays collection be mounted.
THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and FranceBy Charles Schultz
Masterpieces make for good celebrations, or so it would seem from The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France, which honors the 10th anniversary of the Neue Galeries founding.
Im confident that most peoples understanding of Indias medieval Tantric philosophy ends with the Metropolitan Museum of Arts recent exhibition of beautiful miniature paintings or with a fuzzy, titillated acknowledgment of the Kama Sutra.
Sangram Majumdars new works, currently on view at Steven Harvey Fine Art Projects, demonstrate a deft evolution of the painters pictorial sensibility. Majumdar is a painters painter, and his recent explorations in form and color bear this out.
Gudmundur Thoroddsens first solo show in New York playfully interrogates the self and the nations patriarchs through a range of disciplines.
Above all, an interest in movement cuts across the mid-career abstractions of Venezuelan artist Jésus Soto (19232005). During the period of 1950s Paris captured in the show, Soto, one of the pioneers of kinetic art, produced alongside a cabal of artists including Jean Tinguely, Yves Klein, and Group Zero.
Jess: Paintings, Tibor de Nagys third solo exhibition of the artists work and the first to focus on his paintings, features 17 paintings and two works on paper.
Unlike the gestural abstractionists of his generation, George McNeil (1908-95) did not develop a signature formatyet only he could have made each painting in this show of work from the 1960s.
New work from a painter whos been showing since the 80s but may not be on your radar. He should.
The paintings in Lola Montes Schnabels first solo exhibition are fitting allegories for the infiltration of spectacle into every sphere of contemporary existence.
Thomas Woodruffs recent suite of paintings at P.P.O.W. does nothing short of dazzle.
Clippingers small assemblages of found slats and irregular scraps of wood are painted with geometric shapes that sometimes have ideas of their own.
Peter Gallos interests are literary as well as painterly, frequently if not always including words or phrases in his eccentric but enjoyable art.
Connected presents works by five contemporary artists inspired by the gallery’s concurrent exhibition, Anonymous Tantra Paintings. Through the artists included here, Tantra’s medieval Indian tradition touches Modernism’s history.
I initially went to the Guggenheim Museum to see Cattelans spectacle All, however, I was drawn to the rooms off the main spiral, which focused on Kandinskys Painting with White Border (1913).
With the straightforward formal immediacy of photos from the early 1900s, Barbara Sandlers handsome young males pose proudly in jacket and tie, in sailor suits, and as boxers, dukes up and at the ready.
When is a painting not a painting? When its finger traces in acrylic dust on a mirror (Tony Matelli, Big Tits, 2011)?
Almost any of Edwin Dickinsons paintings could serve as a primer on the art; there is so much to be learned from his work about depicting people, landscape, light, and air, not to mention about the application of paint itself.
José Rivera was born in Chicago in 1955, grew up in Puerto Rico, and now lives in the Bronx. This, his first solo show, includes drawings, paintings, collages, assemblages, and sculptureand its a knockout.
The people of Rembrandts world do everything New Yorkers doskate through the streets, smirk at foreign eyes, toast to their own survivaljust set against bucolic Dutch scenery.
If Joseph Montgomery played accordion, Velveteen would embody his instruments bellowing out.
Sandro Botticelli’s “Portrait of a Lady at a Window” (c. 1470 75),included in The Renaissance Portrait from Donatello to Bellini at the Metropolitan Museum,is a beautiful, philosophically complex painting.
Mexican-born, New York-based Bosco Sodis exhibition of recent canvases falls in between the categories of sculpture and painting. Each of the 12 paintings on view has a thick surface whose crust has, in many areas, broken away from other parts of the painting.
Americana is the name of Doug Wadas smart, smashing show of new paintings, which coolly depict spot-on artifacts/icons of postwar American life.
Mind the Gap, a group exhibition at Kent Fine Art, is rife with framed, cream and gray, rectangular works which anchor unruly neighboring pieces displaying buckled textures, blurred resolution, or smoky graphite diffusion.
Tarkovsky is the only artist explicitly invoked by Jensen in the exhibition, press release notwithstanding. The film he invokes, Andrei Rublev, is the story of a painter, so a specific equation is made here between Tarkovskys art and that of painting.
Shoshana Dentz pulls up to her studio building on a classic Dutch bicycle. She laughs, Thats the last time Im riding here this season! It is windy and bitter cold. As she dismounts, I notice her wooden soled boots. It is clear that life with her husband, the gifted Dutch photographer, Frank Oudeman, has had its effect.
One is, upon arrival at Susanna Hellers studio, warned to take care. There is wet paint on palettes and paintings, amid myriad drawings and studio paraphernalia.
The studio was in flux when I stopped by as preparations were being made to transport most of the new paintings to the Friedrich Petzel gallery for Pensatos show, Batman Returns, which opened on January 12 and comes down on the 25th of February.
The concept of taste looms uncomfortably over the practice of art criticism, a constant reminder of the fundamental difficulty in assessing aesthetic quality in objective terms.
An exhibition of work by Matti Braun, the Berlin-born, Cologne-based artist, is always something to which one looks forward. At BQ, Braun has made a show that speaks for itself more than just visually, extending any singular interpretation of the works with the simple device of an exhibition title.
In 1986, Joseph Marioni proposed the term radical painting to describe what he does. Radical painting is the root source that exists as a concrete object in the real world [and] presents the least information and the most sensation of all painting.
The exhibition feels in tune with the present moment where uncertainty and restraint fill the lives of most Americans.
In the midst of a sea of blue-chip spaces in Chelsea, an oasis exists in a tiny storefront called Churner and Churner on Tenth Avenue.
He became my friend and his insights into art meant more to me than those of any other artist or critic I knew at the time. So it now seems fitting to end the second and final volume of my memoir by writing about Bill and the astonishing show of 200 of his paintings at the Museum of Modern Art.