Mel Chin is a multidisciplinary conceptual artist and activist. In addition to that, his work demonstrates a sense of play and poetry, a kind of quixotic romanticism that, however, does not preclude skepticism.
By now, everyone knows that the renovated and greatly expanded Museum of Modern Art has re-opened, returning after a two and a half year residencyor exile, depending upon whom youre talking toin Queens. Leading the welcome home committee was The New York Times, which turned into The MoMA Times for the duration, reporting on every conceivable aspect of the projectbefore, during, after, stillomitting, it seems, only the brand of toilet paper available in the shining new bathrooms.
Crisis has been the defining mode of our culture for so long that it seems a normal state. That said, I don’t believe that criticism, a hard-wired human impulse (wasn’t the Biblical lusting for the apple of knowledge the first step toward criticality?), is in particular crisis at the moment.
In these recent paintings, the artist continues to steadfastly explore terrain that has preoccupied him for at least two decades. What he shows us is what might constitute a painting now, within a contemporary culture logged into perpetual overload in constant transition, which he both leans into and resists.
It’s the high pitch of the colors of Waiting Room—the first painting you see upon entering the gallery—that will stop you in your tracks. The day outside was sunny, warm but the painting seemed even brighter, the brushy, scrambled yellows of the ground almost gilded, radiating their own heat and light.
Boyhood is the theme of this elegantly installed show although whether or not it is that of the artist Enrique Martínez Celaya is unclearpurposefully so.
Christine Hieberts soaring installation, Reconnaissance: Three Wall Drawings, has been in residence on the top floor gallery of Wellesley Colleges Davis Museum (designed by Rafael Moneo in 1993) for the past year.
Judith Murray is a New York-based abstract artist who, in the course of her long career, has shifted from a graphic, hard-edged style and sensibility to a more painterly mode, increasingly enamored, as is abundantly evident, by the luminosity and versatility of oils, her preferred medium.
The Newhouse Center for Contemporary Art at Snug Harbor Cultural Center is part of a vast, venerable, and somewhat unruly complex on the northeast shore of Staten Island. Melissa West, the director of the Newhouse, zoomed in on the sites history to curate Roots/Anchors, an engrossing, multi-layered exhibition currently on view there.
Americana is the name of Doug Wadas smart, smashing show of new paintings, which coolly depict spot-on artifacts/icons of postwar American life.
It was 1976 and New York City careened from one fiscal crisis to another. Upon opening The New York Times one morning, Agnes Gund, one of New Yorks most beloved and generous philanthropists, learned that art classes in the citys public elementary schools would be cut due to yet another budgetary shortfall.