Petah Coyne, now entering maturity as an artist, is anything but waning in her art. Her current show in Galerie Lelong & Co. is an outstanding compilation of pieces that incorporate taxidermied birds, which are pinned to or inserted into what are usually decorative elements or large masses of materialincluding waxed flowers and inchoate bodies of cloth fabric. Helped by a team of collaborators, Coyne continues to address the large, imaginative themes of her career.
Brooklyn artist Lori Sikorski recently staged an interactive exhibition that looks at our current military involvement in the Middle East, initially begun as a response to the destruction of the World Trade Center, a local event, but which passed quickly into long-term, distant hostilities.
Born in Decatur, Indiana, David Smith (1906 1965), arguably one of Americas greatest 20th-century sculptors, came from a tradition of craftsmen; his great-grandfather was a blacksmith, and his father an engineer and inventor.
First things first: You are still missed as one of the most interesting abstract painters working after the Second World War. Your work shows a prescient regard for painting issues that are still ongoing today, and there is a purity in your efforts that is memorable.
Brian Belotts enthusiasm for glittering decoration is amply evident in this excellent show, which proves that even preciousness can be transformed into something inspired and forceful, that is, if you parody your own treatment of materials.
For those of us still interested in keeping the practice of painting flourishing, the show by Devin Powers, located in the front room of the Lesley Heller Workspace, makes it clear that the art form is indeed live and well.
Under the auspices of the exhibition series Raw/Cooked, Michael Ballou presents a smart and challenging installment within the Brooklyn Museums institutional walls.
About 15 years ago, Beijing-based photographer Liu Zheng was in the midst of a project of epic proportions: a photographic survey of the Chinese people that took him to morgues and nunneries, among other places.
Cai Jin, famous for a 20-year-long obsession with the banana plant, has changed her focus. In her recent show with the Beijing satellite gallery of New Yorks Chambers Fine Art, she has concentrated on what she calls landscape paintings.
Anne Truitts career looks larger and larger as time goes on. Born in Baltimore, educated at Bryn Mawr in the suburbs of Philadelphia, and working most of her life in Washington, D.C., Truitt developed a radically spare aesthetic, which slightly prefigured the sleek, industrial forms of 1960s Minimalism.
Despite their differences in themes and materials, the three female Brooklyn-based artistsFay Ku, Hiba Schahbaz, and Manju Shandlerin Gallery HOs New Originals share a common premise: the use of challenging subject matter, public and private, for the creation of contemporary art.
William Pangburns strong show, consisting of an installation and a sequence of small paintings, has water as a major theme. Pangburn, a longtime resident of Tribeca, New Yorks venerable art neighborhood, belongs to the tradition of the New York School. Sixty years old, he represents the still-vital energies of a legacy some might feel is moribund.
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.
Collaborators Will Corwin (a contributor to the Brooklyn Rail) and Neil Greenberg have put together an interactive project called The Great Richmond. Installed in the lounge of Staten Island Arts at the Staten Island ferry termi, the installation re-envisions Staten Island through sculptures by Corwin and schematic maps by Greenberg.
Zin Helena Song is a painter of real precision and technical acuity. For the past few years, she has been painting on wooden sculptures, whose angles and structure reach out from the wall in the direction of her audience. In this very good show she continues to make similar pieces, but adds to her repertoire flat pictures, also done on wood.
The title of Margaret Evangelines show was An Injured Armory. In this body of work, the artist, whose son served in the Iraq War, has turned to allegorical protest rather than specify the particulars of an actual historical conflict. So her exhibition, which was small but powerful, consisted of several stainless-steel panels that incorporated randomly spaced puncture holes, resulting from bullets fired by Evangeline herself at a military shooting range.
Type as Image, organized by a young, New York-based curator named Jill Coklan, did an excellent job of presenting three artists who work with typefaces as part of their imagery.
Choong Sup Lim is a mature Korean artist who has spent many years working in New York City, where he has lived since 1973. Lim has a studio in Tribeca, where he puts together his quietly original sculptures and makes paintings that acknowledge Western abstraction, even as he places an emphasis on traditional Asian imagery and painting techniques.
In a small but attractive space in Dumbo, Korean painter Kyeung Mook Choi presented ink paintings that bridge traditional Asian art and the knotty necessities of contemporary painting.
The work in Matt Kleberg’s two recent exhibitions—brightly-colored, striped paintings that describe interior or architectural spaces—slowly but surely takes over the viewer’s attention.
Ford Crull is a mature painter who has been involved in the New York art scene since the 1980s. His sprawling, attractively disheveled abstract work shows strong feelings for the nonobjective style, in which random patterns and complex densities of paint build up to a surface of intricacy and abandon.
Jean Shin is well known for her large installations consisting of accumulated objectsdisparate artifacts such as prescription pill bottles, sports trophies, sweaters, and swathes of fabricgiven to her by people in the community where the art environment takes place.
Swedish-born, Berlin-based sculptor Carl Boutard is currently living in New York City on a residency at the International Studio & Curatorial Program (ISCP). His exhibition, Life is Elsewhere, installed in the long, somewhat narrow space of TURN Gallery, consists of eight sculptures made from paper and cardboard, rather than the bronze and wood he usually works with for both indoor sculpture and outdoor projects.
The Korean artist Chung Sang-Hwa, now in his mid-eighties, is best known as a participant in the Tansaekhwa, or Korean monochrome painting movement. He has traveled greatly in the West and spent extensive time in Paris, where he first moved in 1967 and likely picked up some of the abstract painting concerns facing Western artists at the time.
The argument in which craft is diminished as art is by now cliché. The shift in art-making of the last two generations has been toward a complete expansion of what art can be, and craft is included in this widening of art’s definition.
Increasingly, the Irish-born, New York-based Sean Scully is viewed as one of the most gifted artists of his generation. Likely best known for the painting series “Wall of Light,” Scully has practiced a variation on the New York School, giving it a European sadness as well as continuing the American penchant for expressiveness.
Bahar Sabzevari is an Iranian-born, New York-based painter who mostly produces self-portraits that echo the greatness of the Persian past. A painter of unusual technical skillSabzevari studied at the New York Academy of Artthe artist regularly paints her own features, with embellishments that look back to her countrys history and culture.
Now 90 years old, Duane Michals continues to make striking, idiosyncratic images that range in influence from modern and contemporary art to works that celebrate authors of major recognition. His current show indicates he is in full strength, usually creating staged photos and, in this show, sculptures and films whose force comes from a humorous surrealism close to the absurd.
Now an octogenarian, Japanese-born sculptor and multimedia artist Kazuko Miyamoto lives downtown, in the East Village. Originally from Tokyo, the artist came to New York City in 1964, studying at the Art Students League from 1964 to 1968. Lacking money, Miyamoto took on restaurant jobs and manual labor to pay for her education and living expenses.
Born in 1950, Sacks would have known well the social struggles generated by apartheid. This show portrays his strengths in double fashionas an abstract artist and as a political memorialist.
Intellectual, critic, and art historian Robert C. Morgan also makes paintings, and has been doing so for most of his long career. The current show, on view in the large, high-ceilinged main space of the Scully Tomasko Foundation, consists of a series of drawings called Living Smoke and Clear Water: small, mostly black-and-white works, of both an abstract expressionist and calligraphic nature (early on in life, Morgan studied with a Japanese calligrapher).
Aaron Curry has created an allover environmental installation for the relatively small gallery space at Michael Werner. Yet, despite the boundaries of a limited room, or perhaps because of them, he has successfully created an environment whose mixed influences demonstrate just how well the artist has done with internalizing other artists visions and making them his own.
While the scene is locally situated in Cape Town, one of the major accomplishments of this very good show is Samsons ability to express a much larger view, universal in its portrayal of the tragic but often powerfully attractive nature of violence, its nearly erotic allure.
Tales of Manhattan celebrates the quarter-century history of the gallery as a place for innovative art and an exemplar of the internationalism that has been central to New Yorks remarkable longevity as a cultural center.
Lebbeus Woodss death in 2012 was a considerable loss to the architectural world, as the fine new show of his drawings and maquettes at The Drawing Center demonstrates. Woodss capacity as a gifted technician and radical theorist of contemporary architecture resulted in a singular body of work that undermined current notions of how to successfully create places in which to live and work.
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.
Postwar Women concentrates on the work of women who attended the Art Students League, emphasizing art made between 1945 and 1965 and including pieces created before and after those periods. The League has been particularly open to women, presenting them with the chance to study beginning in the middle of the 19th century (it opened in 1875).
Smith knew sculpture for what it was: an object in its own right, and, traditionally, a memorial to those who preceded those currently living, now gone. At the same time, his abstraction moved his art into a field of pure form, tending at times to reference nothing but itself.
Born in Germany and living in Berlin, artist Thomas Scheibitz is a solidly established painter who is pushing abstraction into new directions. Not unlike our Thomas Nozkowski, Scheibitz seeks patterns that relate to the world beyond the self.
Whitney Claflin is a young, Yale-educated painter who creates raw effects that remain in the thoughts of her viewers long after they have made their way from the gallery.
A space without a permanent home, the International Fine Arts Consortium temporarily located on Delancey Street on the Lower East Side, is showing the collage work and correspondence of Joanne Grüne-Yanoff, an American artist who lives and works in Stockholm. The smallish individual works nicely reflect Grüne-Yanoffs ongoing interest in nature: small butterflies decorate the letters written between herself and Monica L. Miller, a professor of American and African-American literature at Barnard College; they discuss the imagery from an earlier show by the artist that Miller saw in Stockholm.
For more than a year now, curator Lisa Banner, who graduated with a doctorate on 17th-century patronage and collecting in Spain from the Institute of Fine Arts, has been curating contemporary art exhibitions in two small vitrines found on the steps of the Institutes Great Hall.
Vincenzo Agnetti (1926 – 1981) was a major figure during the post-war period of Italian avant-garde art. A member of the artist collective that ran the gallery and journal Azimut(h), Agnetti worked with such Italian luminaries as Enrico Castellani and Piero Manzoni.
Some 20 years ago San Francisco artist Barry McGee was part of the art scene’s graffiti movement there. Posted on the walls of the city, his images of bums and aboriginal faces were so good that one inevitably felt he would go on to larger, more mainstream recognitionand so he has in this show at Cheim & Read, his first New York gallery exhibition in eight years.
As an Asian-American painter of mixed background, Laura Kina creates work that is as culturally relevant as it is emotionally resonant. Her father, who is of Japanese descent, grew up in Hawaii, where he worked on sugarcane plantations before moving to the American mainland to become a doctor.
Miguel Trelles’s paintings are an amalgam of strikingly different cultures and traditions. Inevitably, the work concerns the borrowing of other painting histories. The subject matter is the Caribbean landscape and the indigenous culture of Trelles’ native Puerto Rico, as well as the Chinese landscape legacy of mountains, streams, and trees.
Youngerman's painting is characterized by hard edges and bright colors; the current painted collages on view are no exception. The arts hard-edge geometry belongs to a tradition of working in the 1940s and 50s, albeit a smaller one than the dominant abstract expressionism of the time.
Goodman, Vickerilla, and Tenaglia all demonstrate a thorough knowledge of modernism and its penchants for abstraction, but they are not constrained by the past. All three are excellent artists dedicated to visual change.
Gina Werfel, originally a New Yorker, has spent the last 21 years teaching art at the University of California, Davis, but she maintains a residence on the edge of Harlem and has been a long-time member of Prince Street Gallery. She makes ebullient, enthusiastic New York School paintings that can best be described as free-form versions of Lyrical Abstraction.
Don Van Vliet—better known as the late, great rock singer, songwriter, and multi-instrumentalist Captain Beefheart, who collaborated with the equally gifted guitarist and composer Frank Zappa in the 1970s—made visual art even as he was establishing himself as one of the most experimental and inspired musicians in rock and roll.
As I write, the nonagenarian artist Alex Katz, long a mainstay of downtown painting, is involved into two major shows: the one he has curated at Peter Freemans gallery and the other is an extraordinary show of recent work at Gavin Browns Enterprise in Harlem. The first exhibition establishes him, very quickly, as a curator of repute, while the second makes it clear that Katz is moving into a territory wholly his own, particularly in the wonderful scenic studies that pass on, completely successfully, his love of nature.
This show at Marc Straus, a combination of large and small compositions and several assemblages, gives us a good idea of how Stout, a gifted artist, is proceeding. Her work is varied and not given to sequential repetition, but the artist stays close to Black life and culture. Her vision is not always sanguine, being taken with the vicissitudes of Black culture and its capacity for joy.
Louise Fishman’s new show substantiates, yet again, her importance as an Abstract Expressionist painter. Her current group of paintings, in which blue and, to a lesser extent, green predominate, have been inspired by her residency at the Emily Harvey Foundation in Venice.
Zaun Lee is a young, New York-based abstract painter who comes from Seoul, South Korea.
Karla Knight is interested in conveying an extraterrestrial symbolism that is informed by both canonical modernism and outsider art. She is a trained contemporary artist, with a degree from the Rhode Island School of Design, whose father was the author of books which dealt with UFOs and extrasensory perception.
Freilicher, a quietly brilliant painter of interiors, is represented here with 15 still lifes that show the full spectrum of her work from the 1950s to the early 2000s. The muted hues of her paintings, combined with a high lyricism for which she was known from the beginning of her career, invests her work with a poetics that can only be admired, on both a thematic and a technical level.
Double Existence presents works on paper and sculpture that offers the "double" perspective of someone coming from a culture very different from the one he lives and works in now; it may also be true that "double existence" refers to the double lifeinternal and externalwe experience during the course of our existence.
If we regard the works individually, we are struck by the piece-by-piece autonomy of the art. Each of the works, which all receive the name Not Yet Titled, has its own reason for being, while their large scale invests them with an aura of self-reflexive importance.
ot quite a painting show, not quite a show of sculpture, not quite a show embodying an installation, Korean artist Park Kyung Ryuls Tense is taut with possibility. Developed from her residency at the DOOSAN Gallery, Parks sophisticated show seeks to expand the flatness of painting to a three-dimensional degree.
Saul Fletcher’s striking black-and-white photographs were taken last year in his studio in Berlin, where he has recently moved.
Carol Szymanski, a talented and established sculptor and conceptual artist, who has worked both in New York and London, put up her fourth solo show at Elga Wimmer Gallery.
Based in New York since 1971, Mel Kendrick is best known as a sculptor, though he has consistently worked on drawings. This practice goes back a long time—the six woodblock works on exhibit date from 1992 to 1993.
Ecologically-minded art like Abes reminds us, in poetic fashion, not only of what we have lost, but what we can keep alive of nature in our imagination.
Brenda Goodman spent many years painting remarkable self-portraits, in which she is sometimes thinner but usually heavy, in her studio on the Bowery in lower Manhattan. But in recent years she has moved to the Catskills, where she continues to practice her art.
Katzs sense of color remains highly original and highly effective, as does his understanding of what takes place in the span of a composition. Now in his mid-90s, the artist shows no sign of slowing down; the paintings are as energetic and as vibrant as ever.
The artists in this show cannot be characterized as sharing communal values, either in form or theme. But that is exactly the point; the works are meant to display the pluralism present in contemporary art. What the artists do share is a determination to question the traditional, both in the sense of artistic legacies and codes of acceptable behavior.
German-born, Berlin- and New York-based artist Bettina Blohm paints gouache and acrylic works that rely on their lyricism to affect the viewer. Her designs are simple but never simplistic; the resolutely abstract works may stem, as she puts it, from “something seen,” but she takes care to “collect visual ideas” and produces colorful, emotionally compelling paintings through rhythm and repetition.
Analia Segal is a New York-based artist, but before she arrived in the States nearly twenty years ago, her life in Argentina was under the cloud of the Argentinian dictator, Jorge Rafael Videla, who took power when Segal was only seven years old. It was a time of extraordinary violence, and although the artist suffered no direct harm herself, she was marked by the general sense of disorder and genuine mayhem taking place. This deep sense of unease surfaces in, Analia Segal: contra la pared, which in Spanish means “against the wall” or “cornered.&rdquo.
It is a bit difficult to characterize Ramírezs structuresnot quite buildings, but clearly aligned with them. Although the artist worked at a time that saw the beginnings of our contemporary culture, there is something both ancient and properly modernist about his efforts.
It is a mystery how the twentieth-century French painter Marguerite Louppe has escaped the recognition she has deserved for so long. Born in 1902 in eastern France, Louppe and her family moved to Paris shortly after her birth. Louppe studied at several academies there, including the Académie Julian, where her fellow students included Dubuffet, Duchamp, Bourgeois, and Maurice Brianchon, whom she married in 1934.
Taiwanese contemporary art has always suffered in comparison with the work of Chinanot only because the two cultures are different, but also because the West has been entranced by the imperial impulse of the mainland.
Qiu Xiaofei, who lives and works in Beijing, studied painting there at the Central Academy of Fine Arts, receiving his degree in 2002. Although he first began as a figurative artist, his art now is a luxurious mélange of abstraction, geometric forms such as spheres, and luscious impasto highly reminiscent of the New York School.
Lee Bul presented a striking body of work for her recent show, which included an installation, several individual sculptures, and India ink and acrylic paintings. All the works in this compelling exhibition address visionary attitudes toward form, inspired in one case by the German architect and urban planner, Bruno Taut (1880 1938), whose idealized drawings influenced Weimar buildings.
or an artist to cross over from his or her own milieu to making expressively raw art is hardly new. It no longer matters who makes the art, so long as we see it as possessing life, integrity, and (some) craft. Still, ever since the exuberant artworks of East Village in the 1970s, we tend to identify roughness, energy, and charismatic intensity as the purview of the young artist, who, for the most part, has identified with a rough-and-tumble personaa far cry from the exquisite nuance and sensitivity we typically ascribe to the historical, cultured painter.
At a time when the genetic modification of foods is a genuine threat to human well being, Brooklyn-based artist Naomi Campbell has created a hybridization of her own, merging her scientific interests with a creative investigation of genetics and technology. Her recent exhibition, Bread and Circuses, reflects her ongoing interest in engineered food staples, most especially corn, which, according to Campbell, has existed for 80,000 years.
A Pittsburgh native, Thaddeus Mosley, now 94 years old, makes organic abstractions from leftover wood: trees from Pittsburgh urban woods, as provided by local governmental sources (the Forestry Division); wood taken from local sawmills; and reclaimed building materials.
Organized by art writer and curator Paul Laster, An Alternative Canon: Art Dealers Collecting Outsider Art presents nearly 75 artworks collected by some 30 dealers. The range of the works, shown salon-style in Edlins space near the New Museum, is remarkable.
Dewey Crumplers excellent show at Derek Eller Gallery comprises many paintings given to his compelling mixture of imagery: quotations of major modernist art, groups of faceless figures in gray hoodies, and science-fiction designs or templates that skew toward something approaching an otherworldly realm.
It looks like there is an increasingly vital art scene in some of the tough urban areas of New Jersey, most especially Newark and Jersey City, where the cost of studio space is much more reasonable than in the chic, art-oriented neighborhoods of New York.
The concept behind Susanna Hellers affecting and evocative exhibition at MagnanMetz is based on her husband Bills suffering.
As the gallery essay points out, Paula Modersohn-Becker was more or less unrecognized as a painter when she died at the age of thirty-one in 1907. But her posthumous reputation rose quickly, in Germany today, she is looked on as a major presence in modern art (although awareness of her achievement is not so well established in America).
In this solo show by Emi Anrakuji, her fourth at the gallery Miyako Yoshinaga, the artist has entitled the exhibition O Mapa, which translates to “The Map” in Portuguese.
Hiba Schahbaz was trained as a miniaturist painter by the National College of Arts in Lahore, Pakistan. Her early work, as well has her art now, powerfully combine high technical skill, a sense of the female position in Muslim Pakistan, and a slightly troubled, troubling feeling for herself as a painter who has moved from a highly hierarchical culture to America, where aesthetic pluralism can confuse a classically trained artist.
The fourteen works on view are paintings with small videos projected onto them. The paintings are of interiors, usually a bit dark and slightly melancholic in atmosphere, that are illuminated by bright windows with curtains.
Hisako Kobayashi has lived for many years on the edge of the East Village, where she also maintains a studio.
Martin Roth, an artist who has often worked with naturein 2009 one of his projects, I lived with sheep in Europe, consisted of living with a herd of sheep in Europeexcels at combining the outside world with sophisticated insights into politics and its relations with art and life. At his midtown exhibition at the Austrian Cultural Forum, In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets, the pungent scent of more than two hundred lavender plants leads the viewer down two flights of stairs, into the basement of the Forum’s building on East 52nd Street near Fifth Avenue.
William Eric Browns ColorStatic is a highly innovative show of TV screen-like tablets, spotted with random shapes that look both like abstract paintings and the static ones that used to be found on televisions.
Tomas Vu, born in Saigon in 1963, moved with his family to El Paso, Texas, at the age of ten. He received his BFA from the University of Texas at El Paso, and took his MFA at Yale. Currently, he is head of Columbia Universitys print-making center. His current show, The Man Who Fell to Earth 76/22 is taking place at The Boiler, a non-profit showing space that is part of the Elm Foundation, located in Williamsburg.
The flurry of reviews accompanying the opening of Indonesian artist Entang Wiharsos solo show indicates that the New York art world is now ready for an influx of culture from Southeast Asia.
Certainly, the drawings construct a visual world of specificity and independence. As time goes on, they may possibly be understood as efforts to sustain a cultural heritage that was not easy to keep alive.
In these two shows gallery visitors have the opportunity to view two very different, but very gifted artists.
Michael Eade is an American artist showing at Echo Hes Fou Gallery, located in Bedford Stuyvesant, Brooklyn. The artists shown at Hes gallery are mostly from Mainland China, reflecting her background, but the gallerist also shows non-Chinese artists, and Eade is one of them.
he New York School persists in the lively abstractions of New York painter Serena Bocchino. Inevitably, her work calls to mind the 1940s and 50s, when gestural abstraction governed the art scene.
Martha Diamond: Recent Paintings is a terrific show of forty-one small abstract paintings, done since 2002, continuing her ongoing exploration of a world characterized both by rough figuration and abstraction. She is a true New York artist, a veteran of the still active and productive decades of the New York School whose work demonstrates a predilection not so much for the lyric, gestural abstraction we know so well in the city, but a more uncouth reflection of urban life.
Hearne Pardee maintains a double life: one in the suburbs of Davis, California, where he teaches in the universitys fine arts department and another in New York City, where he keeps a studio on the edge of Harlem and maintains contacts in the citys art world.
Kyoung eun Kang is a Korean-born artist who took her BFA (2003) and MFA (2005) at Hong-Ik University in Seoul before coming to New York, where she received her second MFA from Parsons in 2009.
This group show features the work of women indigenous artists who belong to the artistic collective Tjala Arts, located in south Australia in Anangu Pitjantjatjara Yankunytjatjara, the full name of the acronym APY used in the title of the exhibition.
A.R. Penck has been part of the German imagination since the early 1960s, when his interest in information systems and all manner of signs was ahead of its time.
Born in 1939, Siah Armajani has become one of America’s most venerable sculptors. Originally from Iran, the artist came to Minnesota in 1960 to study at Macalester College, where he has since stayed and, over the last fifty years, produced a remarkable body of work closely tied to the American democratic tradition and poetry.
This show makes it clear that Guccione was an artist of visionary imagination, creating geometric drawings, employing colored pencils and graphite, that usually document angular, futuristic buildings, seen from both the outside and from within.
Peter Gallos interests are literary as well as painterly, frequently if not always including words or phrases in his eccentric but enjoyable art.
The man sits pensively, smiling and looking up at them as they travel freely through the sky. What is he dreaming of?
Lin Yan, an established sculptor who has been living in New York since 1993, comes from a well-known artist family based in Beijing.
Put together by long-standing gallerist Nicole Klagsbrun, whose project space in Chelsea perfectly holds the exhibitions efforts, the show communicates a shared valuation of figurative art, as well as attempts to make it new. The artists involvedranging from Giacometti, Matter (Giacometti's brilliant photographer), and more contemporary artists such as the late Jonathan Silver, and Matthew Monahan )based in Los Angeles, but educated here at Cooper Union)work off of modernism but interpret in their own fashion.
Tom Sachs, in a mid-career showhis first at Acquavella Galleriesis offering handmade paintings aligned with classic American, mostly commercial iconography: a reproduction of the Reeses Peanut Butter Cup wrapper, the McDonald's Golden Arches, an American flag. These images are so ubiquitous as to have taken on definitive status, giving them an authority nearly ethical in their quality; all this despite the fact that Sachss paintings are mostly of logos of things to be sold.
The exhibition is proof thatas a nonagenarianPearlstein continues to paint remarkably well, reasserting his decades-long stature as a major American realist.
Nanette Carter’s first solo show at Skoto Gallery, An Act of Balance, comprises abstract paintings made with oil paints, oil sticks, and pencil on collaged mylar. Educated at Oberlin College and Pratt Institute (where she has been teaching for some time) Carter has developed a painting style that consists of abstract designs and effects superimposed on top of each other in ways that emphasize chance. The overall form of each work is deliberately eccentric; little regularity is found on the outside edges, which curve and veer and jut out, emphasizing idiosyncratic form over tightly considered composition.
James Castle was deaf artist who lived much of his life on subsistence farms in rural Idaho and neither pursued nor received recognition for his remarkable art during his lifetime. Now recognized as a master—the subject of major shows at the Philadelphia Museum of Art in 2008 and the Museo Nacional Centro de Arte Reina Sofía in 2011—Castle made small, intimate works of art composed of soot and spit, materials he turned into agents of prodigious, if deeply personal, achievement.
The night, the past recalls the past (Edit 12) (2019), is a video by South Korean artist Kim Juwon (b. 1981) about the artists personal life from the years 2007 to 2019.
Tabboo!, legendary for his drag performances in the eighties on the Lower East Side, is showing recent cityscapes at Karmas two sites, located in the East Village where the artist still lives, and at Gordon Robichaux.
At Geary Contemporary, Sun You makes a very good show out of demotic objectswire, magnets, clay forms, cardboardproving that works constructed from poor materials can attain an elegance we had not expected.
Mexican-born, New York-based Bosco Sodis exhibition of recent canvases falls in between the categories of sculpture and painting. Each of the 12 paintings on view has a thick surface whose crust has, in many areas, broken away from other parts of the painting.
Like the artists who shaped movements such as Constructivism and Suprematism, Sacks seeks to ally abstraction with social commentary, even a radical view. Here, the social implications of Sacks's outlook are linked to a complex collage of different sources of cloth: his materials come from all over the world, as if proposing a kind of internationalism that might be able to respond to the limits imposed by the isolation and xenophobia of many around the world.
Raquel Rabinovich, now 92, is an artist working in Rhinebeck, New York; born in Buenos Aires, she moved to the United States in 1967. The artist is known for her monochromatic painting and glass sculptures, as well as her ecologically influenced works, likely the result of her proximity to the Hudson River.
Vicky Colombet’s exhibition, Paintings from 2007 – 2018, is serving as a prelude to a major exhibition that will take place at the Musée Marmottan Monet in Paris in March 2020, for which Colombet will develop a visual dialogue with the great artist. Colombet, a painter of achieved subtlety, is offering a series of pure landscapes—a departure from her earlier work, which suggested stony outcrops and other mountainous depictions.
Wang Yan Cheng offers a large show of paintings at Acquavella Galleries, where his Abstract Expressionist canvases appear very much like a slightly foreign version of an idiom originated and championed in New York.
Georg Baselitz, now in his 80s, continues to produce remarkable expressionist art, usually of figures seen upside-down. Born in Eastern Germany and educated in several art schools there, he moved to West Germany, where he first encountered abstraction. In 1969, he showed, for the first time, a painting with an inverted figure. Since then, this motif has been a signature element of his style.
Gabriel Orozco, now close to 60, is a permanent part of the contemporary art landscape. Coming out of conceptualism, often working with photography (but also with other mediums), Orozco is offering at Marian Goodman paintings large and small made in Tokyo. One can only wonder at the unusual facility of the artist: somehow, he has turned these paintings into innovative, exploratory statements, even while working within the by-now-established history of abstract art.
A consortium of five New York galleries have mostly reproduced a French museum show with the same name—The Surface of the East Coast—held in Nice in the summer of 2017. Some twenty-two of the twenty-four artists in its European version are offered on our side of the Atlantic; the purpose of the exhibition, curated by Marie Maertens, was to pair artists from the late 1960s in France, who belonged to the Supports/Surfaces movement active at the time—its participants wanted to meld Marxist and Freudian thought, along with contemporary American criticism—with abstraction.
Clarence Schmidt, remarkable poet of homespun constructions, was raised in Astoria, Queens, but made his way to the Woodstock area in the late 1930s. Trained as a mason, he acquired land on which he would build a remarkable house, alive with scores of windows.
Conceptual artist Jesse Chun plays with the social attributes and political implications of the English language.
Peggy Cyphers has put on a show of startling originality at the Proposition.
In 2012, Musa Mayer initiated the Guston Foundation, dedicated to maintaining the legacy of her father, artist Philip Guston (19131980). It had become evident that Gustons life and work needed to be available both to researchers and the general public. His reputation, always strong, continues to rise; even among the major New York School artists, Gustons place in the canon is now seen as distinctive. Today, he is regarded as a painter of consequence, one whose interests included clearly asserted social concerns, among other themes. At ten years old, The Guston Foundation is likely the best resource to seek support for the factual study of Guston and his work.