Beverly Fishman likes the look of Finish. No, not like Larry Bell and Helen Pashgian, artists associated with the Finish Fetish scene in LA in the 1960s. Though she may start from the same materialist impulse, she occupies her own territory. For starters those artists used glass, resin, enamel, and aluminum to make abstract paintings and sculptures in an effort to address the new materiality surrounding everything from car culture to consumer culture at large.

In the late nineteenth century, Édouard Vuillard retreated from the dominant themes of contemporary French painting—Parisian nightlife, portraiture, bathers, and the landscape—and focused instead on domestic scenes as a site of interiority. His paintings were populated by friends, lovers, patterned curtains, flowers and dining tables; all manners of personal life redrawn into shimmering, patterned space to hallucinatory effect. The paintings were not a window into the world, but rather a world unto themselves.

Nate Ethier’s recent exhibit at LMAK is titled Wilderness, and the eight paintings in this show walk us through geometric abstraction’s endless possibilities. Ethier’s mid-size paintings engage in a regenerative abstraction. The artist paints geometric forms built up through color shifts, transparencies, and opacities, but form is never quite solid.

Russell Tyler's solo show, Radiant Fields, effectively combines three major painterly characterizations of space: the cinematic, the theatrical, and the digital, with surprising result.

New York visual artist Joshua Abelow recently sat down with painter and writer Jason Stopa to discuss his work and upcoming exhibit at James Fuentes. 

Recently on view at John Davis Gallery were Farrell Brickhouse’s latest paintings spanning the last two years of his career.  Two dozen works speckled with glitter and flecked with white dots filled both the first and second floors and the gallery.

On the occasion of her exhibition Recent Work at Edward Thorp Gallery in New York (April 19 – May 26, 2012), painter Katherine Bradford welcomed fellow painter and Executive Editor of NY Arts Magazine, Jason Stopa, to her Williamsburg studio to talk about her current work and the publication of her first artist book.

Sometimes—albeit rarely—formal propositions can be politically influential. When the two meet, it’s a beautiful intersection. And Albanian artist, Anri Sala, loves intersections: the intersections of language, syntax, history, and cultural memory, to be specific.