On the occasion of the painters recent exhibition at Cheim & Read, Bill Jensen welcomed the painter/contributing writer Peter Brock to his Williamsburg studio to talk about the new direction that has occurred in his work and more.
Bitter and misshapen, perhaps the crabapple has its reasons? Dmitri Hertz has reasonsideas and sources that inform his sculpturesbut the understated eccentricity of his work is so visually compelling that I was in no hurry to interpret these forms in terms other than their own.
Psychomachia further develops a conviction that manifests throughout Goldbergs work and writing: that consumption, whether physical or visual, is necessarily a mutual process.
Matthew Schraders solo presentation at White Columns explores the complex symbolism of an iconic piece of American flora. Symmetrical pairs of curved leaves give ailanthus altissima an instantly recognizable silhouette, but Schraders work also speaks to the ways that this plant is actually a thriving immigrant entangled in the matrix of race and power that structures this country.
The orgy of artificial light and advertising causes most visitors to tilt their heads skyward as they drift through Times Square. Despite, or perhaps because of this maximalist effort above our heads, Yuji Agematsu remains attuned to the peripheral drama unfolding at street level. Over the course of four years during the mid-2000s, the artist took hundreds of 35mm photographs during nightly walks through Midtown Manhattans most exalted intersection. The resulting images form the basis of his third solo exhibition at Miguel Abreu Gallery.
The decision to hand-write the bits of text and the question of where to place them are certainly aesthetic concerns, but Moss does not appear to prioritize these formal qualities. Her script is casual, and her placement is direct and frontal. The words deliver their punch despite their appearance, not because of it.
In his first solo exhibition at Lomex, Weekends and Holidays, David Flaugher presents an austere scene that manages to feel at once delicate and confrontational.
Ndife lures us into examining these bizarre hybrids, which evince a process that simultaneously involves decomposition and growth. A mysterious form of allegorical and biological change emerges as the protagonist of this show, with each sculpture testifying to its strange presence.
A large, squat boulder occupies what would otherwise be a parking spot at the corner of Montrose and Manhattan Avenues in Williamsburg, Brooklyn. Flanked by yellow caution tape and four orange construction barriers, the placement of this massive stone was clearly meant to be temporary. And yet, like many aspects of daily life under COVID-19, this rock is now stranded in an unfamiliar predicament with an uncertain future.