ArtSeen
Florence and Daniel Guerlain Donation
By William CorwinSince its very origins, the practice of drawing has eluded definition, which is perhaps why it has become metaphorically aligned with the seemingly futile pursuit of chasing shadows.
Moira Dryer Project
By David RhodesThe abstract paintings of Moira Dryer (1957 – 1992) are due for critical reevaluation. Hopefully the two-part exhibition at Eleven Rivington, Moira Dryer Project, was just a beginning.
Mingei: Are You Here?
By Michael StrausAfter a full week of helter-skelter sprints through eye-numbing mounds of maze-like fairs blistering not only my feet but also my admittedly limited ability to grasp the myriad aesthetic sensibilities of artists young, old, and dead, I had a Keatsian moment of Pacific pure serenity when silent, within a Chelsea gallery, I stared at Nicolas Trembley’s perfectly curated show, Mingei: Are You Here?
New Originals at Gallery HO
By Jonathan GoodmanDespite their differences in themes and materials, the three female Brooklyn-based artists—Fay Ku, Hiba Schahbaz, and Manju Shandler—in Gallery HO’s New Originals share a common premise: the use of challenging subject matter, public and private, for the creation of contemporary art.
“What the world looks like when it is loved”: JOSEPHINE HALVORSON Facings
By Jarrett EarnestJosephine Halvorson is a painter of intimacy, which is as real as anything, but not what people mean when they talk about representing reality.
Folk Couture: Fashion and Folk Art
By Oona HaasFashion is cannibalistic. Guest curator Alexis Carreño takes this statement as the point of departure for the exhibition at the American Folk Art Museum.
Representing Rainbows
By Lisa Corinne DavisThere's no arguing with Rainbows. A rainbow is a fact of life. Pots of gold, Judy Garland, magic, and wonder are all encapsulated in the image of the rainbow. They recall childhood memories, folklore, and middle school science, while holding a firm place in legend due to their beauty and the impossibility of explaining the phenomenon.
KEITH SONNIER Elysian Plain + Early Works
By Charles SchultzKeith Sonnier’s sculptures infuse the élan and machined elegance of high minimalism with a subtle sensuality. For all their rigidity—the pieces are comprised mainly of large glass or acrylic panels linked with aluminum struts and lit with neon—they emanate a kind of softness. They are also playful and even a bit erotic, adding a significant dose of warmth and humanity to a visual language known for its detached tone and conceptual slant.
PHILIP PEARLSTEIN
JUST THE FACTS, 50 Years of Looking and Drawing and Painting
By Robert Berlind
In the late 1950s, Philip Pearlstein abandoned the expressive painterly language favored by his elders and many of his contemporaries and set out to work directly from observation.
ALFREDO GISHOLT Canto General
By Kara L. RooneyLook at any inspired painting,” Philip Guston said. “It’s like a gong sounding; it puts you in a state of reverberation.” One can almost hear Alfredo Gisholt’s latest series, Canto General, pulsating with this same aftershock of rhythmic duress.
MATTHEW BARNEY & JONATHAN BEPLER
River of Fundament (2014)
By Nicola Ricciardi
A staircase emerging from a river of feces, ancient Egyptian myths engaging in sexual intercourse in a bathroom, the double-amputee actress, model, and sports pioneer Aimee Mullins cutting herself with a knife.
JULIA ROMMEL The Little Match Stick
By Alex BaconJulia Rommel has installed just two works in the first room of her current exhibition: a large, ravishing creamsicle orange painting, “Punkin Chunkin” (2014), and a small, mostly white canvas, with accents of grays around the edges and sides, “Sandpipers” (2013).
STRANGE INTIMACIES
By Alana Shilling-JanoffHe deftly forges strange, vicarious intimacies between viewers and the unlikely subjects of his paintings—from giants and insecure grasshoppers to an entire cast of fretting fowl.
LORI ELLISON
By Taney RonigerIf poetry is the art of condensed expression, Lori Ellison’s drawings and paintings are the consummate example of verse made visual.
MAY DAY IN MARCH
AUSTIN THOMAS Utopian
By Joan Waltemath
Utopian, Austin Thomas’s show of delicate constructions and drawings at the Hansel and Gretel Picture Garden in Chelsea is the first part of a three-month collaboration between the Hansel and Gretel Gallery and Thomas’s unique venue in the Lower East Side, Pocket Utopia. The collaboration will include exhibitions as well as events.
A SPECIFIC IMAGINATION
SHIRIN NESHAT Our House is on Fire
By Anna Tome
Despite the portrayal of such extreme emotion, the works are not in the least literal or heavy-handed. Rather, they seem to have been constructed this way, like much of Neshat’s work, to translate a cultural experience we in the West naturally misunderstand.
DOUG WHEELER
By Ann McCoyThere is nothing new about the idea of symbolic space. Doug Wheeler’s second installation at the David Zwirner gallery brings to mind the French Enlightenment fantasy architectural monument spheres of Étienne-Louis Boullée.
CLARE GRILL Comb
By Sara ChristophWhat does it mean, now, in an age of public spectacle and private surveillance, to paint pictures of domestic life? Has that word—domestic—already prodded you to the next review? It is a term so loaded, so heavy with the dueling stones of feminist theory and conservative conformity.
SOCIAL RADIANT
Alex Katz / Dara Friedman
By Phong Bui
Juan and Choichun, Choichun and Juan.
WHERE ARE WE
RICHARD TUTTLE
Looking for the Map
By Phong Bui
Into the heart of things / Center of the universe / Yet I like to place things / Irregularly
Images of Passengers, Memories of Thirst
By Andrew Stefan WeinerAndrew Stefan Weiner discusses the late filmmaker, Chris Marker.
MEL KENDRICK Water Drawings
By Pac PobricMel Kendrick was fresh out of Hartford, Connecticut, when he came to New York in the fall of 1971 to study sculpture at Hunter College. Already armed with an undergraduate degree, Kendrick came looking for the conversations that only New York could offer.
