In this recent series of earth tone infused canvases, Tom Levine seeks to redefine the terms of engagement with his medium.
Growing up in the rural Swiss village of Winterthur, Heidi Bucher (1926 93) was expected to marry a man who would carry on the family construction business. She rebelled.
Sigmar Polke was a master magician among the principal tricksters of art history, a mischief-maker of illusions of illusion itself, not to mention reality, whatever, of course, we believed prior to witnessing his slights of hand.
Scottish artist Ken Currie emerged in the 1980s as one of four figurative painters dubbed the “New Glasgow Boys,” alongside Steven Campbell, Peter Howson, and Adrian Wiszniewski.
In the form of a small Hudson Valley home at 438 Carroll Street, Retrospective Gallery recently presented Landon Metz with the opportunity to explore the potential for his paintings to intervene in, and in doing so to rearticulate, a particular space.
A cursory glance at Peter Campuss exhibition shows large, elegantly composed harbor and seaside images of sailboats, dredgers, cranes, fishing boats, and trawlers at dockside. Look longer and Campuss surfaces come alive, showing varying degrees of visual activity.
Just in case anyone out there is still arguing about form versus function in ceramics, Kathy Butterly’s recent exhibit settles the score: form has won. These 12 small scalebut not diminutivepieces make the argument cogently.
For West Wall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making the wall . . . a kind of ready-made mural, thus changing every show in that space thereafter.
In 1979, at the urging of her friend and colleague, the painter Elaine de Kooning (1918 89), Connie Fox moved to East Hampton. Almost daily, the two walked and swam at Sammys Beach, a local flat strand of shoreline.
In Metaphors on Vision, filmmaker Stan Brakhage records a 1963 visit to poet Charles Olson in Gloucester, Massachusetts, the hometown that Olson mined geographically and poetically for the final decades of his life.
I feel like a pelican in a church, Forrest Bess wrote to his dealer, Betty Parsons, in 1949. He was staying at a friends house in Woodstock, New York, painting and passing time until the opening of his first show in December of that same year.
hat do rainbow file folders, a scratching post, and German Romantic painting have in common? This sounds like the beginning of a riddle, but these things are part of the rebus that is Friedrich Kunaths latest exhibition at the Andrea Rosen Gallery.
Joanne Greenbaums new paintings are full of stuff; very few areas are left open or unattended. In many of these new pieces, colored pencil, marker, or crayon lines run over the surface, giving the feeling of a child let loose. On first impression this creates a powerful energetic field.
When Allan Wexler looks into the forest he sees its trees as natures I-beams, their leafy boughs as protective rooftop canopies. More interested in dwellings for the human spirit than in constructing habitable spaces, Wexlers architecture-as-sculpture-as installation-as conceptual art isnt easy to pin down.
Bill Cunningham: Facades is at once, an elaborate game of dress-up and a thorough documentation of American fashion, running the gamut from colonial to contemporary styles. Initially a photo essay printed in paperback and published during the spring of 1978, the 88 gelatin prints donated by the photographer are now on display at the New York Historical Society in an exhibition of the same name.
Towards the end of March I traveled to Mexico City for the first time. I was there for the publication launch of a new literary arts magazine, diSONARE, as well as to seek out the vibrant art scene I had heard so much of over the course of the past few years. Upon landing I was immediately overwhelmed by the ecstatic colors, sounds, and foreign smells of the sprawling metropolis, which presented themselves as an unrelenting assault on the senses.
Magnificent Obsession: Joann Gedney, The Early Paintings, 1948 1963, curated by Gregory de la Haba at Rox Gallery, is an art historians dream come true: the discovery of a pristine body of work documenting the life and oeuvre of an unknown Abstract Expressionist. In addition to the paintings and drawings selected for the show, there are scores of others in the painters Village townhouse, as well as boxes of diaries, notes, and letters that complete a rich background and historical context.
Leslie Waynes sharp show of new work continues her interest in paint not as an embellishment on canvas but rather a physical material in its own right. Shes always done fine things with the medium, but in this exhibition, entitled Rags, the artist takes her ongoing, nearly obsessive interest in oil paint to a new level, draping paint so that it bends and folds as fabric might.
During the months of March and April in both Barcelona and Madrid, the curatorial project Jugada a Tres Bandas proposes to galleries that they interrupt their usual schedule and invite independent curators to organize exhibitions that include non-gallery artists.