After spending time in the wilderness, Sherman returns to her Brooklyn studio armed with source material. Referencing multiple digital images, she paints spontaneously, completing most work within the first day.
Isabel Nolans An Answer About the Sky, on view at the Sean Kelly Gallery (September 13 October 18, 2014), is a history of the virtues of accident and error that unfolds in 14 works across media including paintings, sculptures, a rug, and a series of reflections authored by Nolan herself in prose that is both limpid and lyrical.
The first installation of this exhibition of Marsden Hartleys Berlin paintings must have been some homecoming, one that likely looked as if little or no time had passed, even though, in this case, its been a hundred years.
Still in grad school at Hunter Colleges fine arts program, the artist Derek Fordjour has nonetheless pulled off a terrific, completely professional show of paintings and sculptures.
Its important to remember that, unlike in life, no one gets hurt on the stage of painting. Some artists choose to reveal the scaffolding, lights, and dark box of this stage, while others conceal it as best they can. Tomer Aluf belongs in the first category: his paintings present a wide-open and generous stage, dandified with a touch of black magic.
Willem van Genk: Mind Traffic, the American Folk Art Museums current exhibition of 43 works by the Dutch artist, which range from large-scale paintings and collages, to an installation of the artists prized raincoats, is an historical victory, a correction of a curious oversight in the art historical annals of U.S. institutions.
Those unpracticed at the art of “negative capability”Keats’s celebrated term for the capacity to embrace uncertainty, ambiguity, and doubt “without any irritable reaching after fact and reason”would do well to steer clear of Zipora Fried.
Halfway through last years memorial service for Nelson Mandela, the official sign language interpreter, Thamsanqa Jantjie, started to deviate from what the world leaders standing next to him were saying.
Une Danse des Bouffons (or A Jesters Dance), a roughly 35-minute-long silent film by Canadian-born artist Marcel Dzama, is an absurdist drama featuring one womans attempt to rescue her lover, the artist Marcel Duchamp, who is being held captive and tortured while made to recite chess moves.
The history of the representation of Native Americans has been, until recently, overwhelmingly one-sided. Capturing the indigenous peoples of this continent through images was the purview of the colonizer, the outsider, the anthropologists, and the government officials and painters who had the technological and material means to represent the Indian as they saw him.
It is common for workers to embellish their to-do lists out of boredom, but creating tromp-l’oeil, four feet tall, meticulously polished replicas of sheets of doodles takes a more worrying level of ennui.
A decade ago, the art historian James Elkins published On the Strange Place of Religion in Contemporary Art, a book that offered a highly suggestive observation. The United States is a very religious country, he noted, but very little contemporary art found in the mainstream galleries or museums presents religion in a positive way.
It is important to look long and hard at the early paintings of Nicholas Krushenick as they appear on the walls of Garth Greenan Gallery 50-plus years after they were made.
The danger of the art world constantly searching for the “next big thing” is that quieter, more introspective work, like that of painter Bill Lynch is easily overlooked. Thankfully, he has just been given his inauguraland posthumousNew York exhibition at White Columns.
Francesca Capones recent solo exhibition, Oblique Archive, is a meditation on the nature of language as it is increasingly unmoored from the physical realm of paper and set adrift in our digital landscape.
A fellow spectator at Mike Clouds recent exhibition described the largest painting in the show, Removed Individual, (2013) as the Buckminster Fuller one. Initially this seemed superficial, based merely on the construction of the piece as a network of visible intersecting stretchers.
The paintings, sculpture, and video in this exhibition seem like an unnaturally contained drop in the bucket compared to the explosive output of Matthew Ritchies on-going residency at Bostons Institute of Contemporary Art.
For this artists second solo exhibition at Blackston, the walls and ceiling of the front gallery have been painted gray, and the difference this makes in how one experiences the five large-scale paintings that explore the tonal shifts of the complex hue is significant.
I cant imagine John Singer Sargent typing. Maybe he did. His lush, fluid lines and his adroitness, however, make a good foil for James Siena, whose adroitness is a story of another kind.
Helen Mirra's exhibition Waulked, currently on view at Peter Freeman, Inc. presents a series of works that are united through a contemplation of walking and its related state of mind.