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Painter Margrit Lewczuks career was marred in 1999 by a fire that destroyed the contents of her Chelsea studio. 16 years later, she has assembled a new oeuvre of vibrant paintings, drawings, and cut-outs while living and working in her Brooklyn home with her husband, fellow impassioned artist and professor Bill Jensen.
The body gives itself to the visible, to presence, making it something too easily objectified, idolatrizeda tension embedded in the portrait. In her recent exhibition at White Columns, Mexican-born, New York-based painter Aliza Nisenbaum utilizes portraiture to draw out this excessive visibility of the body and what this visibility obscures: namely, the body as place of torsiona twisting convergence of presence and absence, actuality and dream, thought and flesh.
After years as a landscape painter, Stuart Shils has assembled a wide-ranging show at Steven Harvey, integrating painting, photography, and sculpture, often in the same piece.
Wang Jianwei is one of China's most important conceptual artists investigating the themes of knowledge, society, and ideology. Born in 1958, he trained as a painter in the academic style of Russian Realism, and from the early 1990s moved to work in video, theater, and socially engaged projects.
A cynic might point out how convenient it is for the Museum of Modern Art to have an exhibition that essentially doubles the narrative of modern art enshrined in neighboring galleries and on the floor below.
All Pores Open showcases four seemingly very different artists, Shirley Gorelick (1924 2000), Ted Partin (born 1977), and artist duo Dit-Cilinn (born 1983) and David Ohlsson (born 1985), all of whom engage with the problem of portraying identities.
In Joe Fyfes work, the inherent characteristics of any given material are presented foremost and combined with a sense of highly nuanced formal invention. Materials and objects are sewn, glued, tied, or left leaning together; there is no idealization or neutral ground sought for paintingand painting and its possibilities is the subject of this exhibitionas medium specific.
Speaking of People is a powerful group exhibition that focuses on the many ways contemporary artists have taken inspiration from the pages of Ebony and Jet magazines.
Ozbolts new exhibition at Hauser & Wirth, Ozbolt manipulates art-historical categories and source materials that rework traditional expectations about painting. He alludes to the punk aesthetic that I consider understated subversionirreverence combined with a sophisticated and technically proficient practice.
Sadie Bennings recent works fit together beautifully while resisting fitting in completely with other things to which they could be compared. The complexity of their situation as such is what gives them their eye-catching personality, an attitude provided mainly by the disarming procedures of their production.
This elegant installation celebrating the centenary of Rudy Burckhardts birth was a good introduction to his work for anyone coming to it for the first time. The photographs for which he is perhaps best known were intermixed with his paintings, an arrangement he did not favor during his lifetime, but which here demonstrates the continuity of his interests.
The digital and its potential are at the heart of Thanks to Apple, Amazon, and the Mall at Klaus von Nichtssagend Gallery. Curated by critic Brian Droitcour, the show is an extension of the gallerys digital publishing venture, Klaus_eBooks.
Rough Cut attempts to offer a new look at how eight emerging and mid-career artists incorporate collage into the process of making abstract art. The shows premise arises from one of curator Jennifer Samets overriding intellectual pursuits: understanding the artistic process.
Some of the most striking colors to be found in the natural world exist solely as counterparts to death and decay. Here and there, the lately living or slowly fading are ushered beyond the pale by richly-hued molds and parasites that unfurl in balloons and waves of radiant rot.
In the Basement Boiler Room of MoMA PS1, an installation known as Central Governor quietly resides in the form of a glimmering, gilded furnace. The current state of the machine is the result of an extended performance168 days from preparation to completionexecuted in 2010 by Brooklyn-based multidisciplinary artist Saul Melman.
After studying with the great and eccentric Clyfford Still at the California School of the Arts, exhibiting with the Abstract Expressionists in New York, and having endured stints of teaching on the East Coast and in the Midwest, Jon Schueler left New York in 1970 for the isolation and particular weather of the Scottish Highlands.
Much has been said of late about the status of so-called post-Internet art. Detractors, like Art in Americas Brian Droitcour, see the movement as the art of a cargo cult, made in awe at the way brands thrive in networks.
Two stunning simultaneous exhibitions by the Scottish artist Lucy Skaer give New Yorkers their most comprehensive view of the artists range to date. Skaer represented Scotland in the 52nd Venice Biennale, was a finalist for the Turner Prize in 2009, and has had solo exhibitions at the Kunsthalle Wien in Vienna, the Kunsthalle Basel, and the Fruitmarket Gallery in Edinburgh.
To you, muse who / rocked the brains of / so many of my heroes / You a hero too / for wise quip bon mot and / panoramic eye
Taking its title from a line from the Neil Young song Dont Let It Bring You Down, this group show at the split-level gallery ROOM EAST is anything but a downer.