Andrew L. Shea
Andrew L. Shea is a painter and a writer based in Providence, Rhode Island.
The exhibition’s figurative focus allows us to set aside the usual platitudes about Milton Avery’s late, great works of the 1950s and ’60s.
June Leaf: Shooting From the Heart is organized thematically rather than chronologically, but it opens with a gallery of mostly early works, many of which were included in “Street Dreams,” the artist’s breakout 1968 New York exhibition at Allan Frumkin.
In Soumya Netrabile’s Shooting Star (2024), a woman stands alone at the front of an open, nocturnal landscape. The scene’s dark cypresses, its sloping fields, and the rustic homestead up the hill in the background suggest Tuscany, yet the entire painting is bathed in an ominous, dense, unfamiliar red tone.
These paintings work not in the realm of intellect, but that of feeling. Goodman’s is a formalism that is never escapist or hermetic, but instead tied to an encyclopedic spectrum of human emotions, including terror, despondency, anger, hope, joy, even love. As she prepares to enter her ninth decade, Goodman has once again come upon a new abstract language that, somehow, remains intimately in touch with those important realities.
Whereas previous bodies of work consisted primarily of autobiographical and domestic scenes, here Levinthal ventures forth to engage with the outside world and the figures she encounters there.
The first painting one sees upon entering Scott Kahn’s exhibition at Almine Rech is The Gate (2021–22), a view of a tree-lined residential driveway. Seen from an elevated perspective, presumably a house’s second-story window, the driveway leads from a nondescript road directly down the center of the picture plane.
In fifteen mixed-media collages on view now at DC Moore, Carrie Moyer shifts the boisterous abstract compositions for which she’s renowned to a smaller, more personal scale.
With Here comes the night, an exhibition of eight acrylic paintings now at Spencer Brownstone, Jule Korneffel declares an infatuation with twilight atmosphere.
Greenwich Village has gone to the dolls. In an apartment space 11 stories above Cornelia Street and Sixth Avenue is Alyssa Davis Gallery, now host to Goodbye Dolly, a sculptural installation piece by the Brooklyn-based artist Abby Lloyd.
Polina Barskaya’s newest paintings, 11 of which are on view at Monya Rowe Gallery through November 12, take lockdown-looking as their subject. As in her two previous solo exhibitions at the gallery, these are intimate, domestic scenes, derived from photographs that are acted upon and subtly distorted through the process of painting.
Depicting everyday scenes in and around Levenstein’s home on the North Fork of Long Island, these paintings are said to have originated with casual photographs that the artist took on his phone.
