Hovey Brock is a Brooklyn-based painter. His work has exhibited nation-wide and abroad. His most recent exhibition, The Shape of Thought, was held at 2 Rivington Street in 2015.
FEB 2017 | ArtSeen
For those still wandering around in shock wondering what the next four years will bring, this survey from the museum’s collection of early 20th-century Russian art packs in so much energy, verve, and optimism that it may come as a welcome massage to furrowed brows.
MAY 2017 | ArtSeen
The archeological record from the Qin and Han dynasties in Age of Empires, which includes over 160 artworks, should be a revelation to anyone who hasn’t had the opportunity to visit China’s leading regional museums in the last twenty-five years. The period it covers, roughly contemporaneous with the rise of Rome up to its imperial heyday, laid the foundations for China’s imperial system that managed to endure, in successive iterations, for another staggering 1700 years.
JUL-AUG 2017 | ArtSeen
Maybe Lüpertz is executing a kind of aesthetic Judo throw, redirecting Classicism’s colossal influence on Western painting’s canon into an open, subjective space of a paradoxically “felt” Classicism, something embodied rather than intellectual.
OCT 2017 | ArtSeen
Los Angeles-based artist Amanda Ross-Ho has built a career focusing on the studio as locus, metaphor, and container for the creative process. Keeping her interests tethered to this line of inquiry has given her the freedom to cover a swath of art practices including sculpture, painting, photography, installation, and performance.
FEB 2016 | ArtSeen
Lori Ellison’s most recent show, which includes twenty-two works on paper and twenty-three paintings on panel, largely made during the last two years of her life, marks a fitting tribute to a life dedicated to art.
APR 2016 | ArtSeen
The cumulative impact of seeing Munch’s work in this exhibit was so strong that upon leaving, the streets of Manhattan almost morphed into the cityscape of Munch’s print Evening on Karl Johan, (1892).
JUL-AUG 2016 | ArtSeen
Gerhard Richter has always experimented with a range of production techniques, but in this current exhibition, high touch wins out over high tech.
NOV 2016 | ArtSeen
What’s in a beard? Certainly, when considering the surfaces and materials of Jean Dubuffet’s mature works, the word “rebarbative” (from the Latin barba, meaning beard) comes to mind.
APR 2015 | ArtSeen
Hadieh Shafies recent worksbrilliantly colored rolls and stacks of paper packed into white rectangles, squares, tondos, and even a cubemanaged to walk a thin line between painting and object, concept and image, Iran and the West, with rare stumbles.
JUNE 2015 | ArtSeen
Joan Snyders current exhibition takes its title from the ancient Roman code of party decorum, where the image of a rose on the banquet hall ceiling functioned as an emblem of confidentiality reminding merrymakers to keep secret the indiscretions made by tongues unhinged by winenot unlike what happens in Vegas stays in Vegas.
OCT 2015 | ArtSeen
Robert Overby, the Los Angeles-based graphic designer, educator, and artist who died in 1993 of Hodgkin’s disease had an art career that never came into nationalmuch less internationalprominence during his lifetime. Since then, thanks in part to the efforts of his widow, the painter Linda Burnham, his art has finally gotten the attention it deserves, with solo exhibitions and retrospectives in Europe and the U.S., and a presence at art fairs.
DEC 15-JAN 16 | ArtSeen
MoMA’s not-to-be-missed retrospective of Pablo Picasso’s three-dimensional work fills up its entire fourth floor with 141 pieces across eleven galleries, which span a mind-boggling sixty-two yearsfrom 1902, his last year in Barcelona, until 1964, nine years before his death.
APR 2017 | ArtSeen
Did you know United States President Teddy Roosevelt had a tat? This and other peculiar facts abound at the New York Historical Society’s 300-year purview of this ancient and universal art form as practiced in the city and its surrounding regions.
JUNE 2017 | ArtSeen
Roxy Paine’s first show of his sculptures at Paul Kasmin spans two adjacent spaces in Chelsea. The 293 10th Avenue space has two mordantly funny dioramas and a very disturbing installation of a burnt-out forest floor. The 297 10th Avenue space has eight of his signature Dendroids, stainless steel imitation tree constructions.
JUL-AUG 2017 | ArtSeen
The wave images harbor their own contradictions, or rather multiplicities, as they speak to the double edge of nature’s powerits majesty and its destructive potential, now exacerbated by climate change.
OCT 2017 | ArtSeen
How is satire even possible in the age of Tr*mp, when his words and deeds, in their shamelessness, parody themselves? Peter Saul’s new paintings, with their hyperactive, surrealist blend of Pop Art, art history, and political commentary, gave a pretty good answer in his latest show, Fake News.
MAR 2016 | ArtSeen
The twenty-four black-and-white photographs from the estate of master portraitist Peter Hujar (1934 1987)included in Lost Downtown, document a pivotal moment in the New York art world and, at the same time, manage to convey something essential about the medium itself.
JUNE 2016 | ArtSeen
Iceland has been punching well above its weight in the cultural arena for the last twenty years. Tibor de Nagy’s pairing of two artists from Iceland shows the country’s impact on their sensibilities.
SEPT 2016 | ArtSeen
With 170-plus examples of haute couture and ready-to-wear designs from the 19th century to the 21st, Manus x Machina largely lives up to its ambitious agenda of examining the symbiosis between traditional handcrafted work and technological innovation in fashion’s history.
DEC 16-JAN 17 | ArtSeen
This first ever retrospective of Kerry James Marshall (b. 1955) at the Met Breuer proves he has pulled off a stunning two-fold accomplishment.
MAY 2015 | ArtSeen
Julian Hattons recent paintings speak to a healthy self-confidence not only in his artistic process, but also in the very enterprise of abstract painting.
JUL-AUG 2015 | ArtSeen
When I was a child, I had a set of forty colored pencils that I arranged, rearranged, and then rearranged again in a seemingly endless parade of color sequences, or rainbows, as I called them. This play brought me great joy.
NOV 2015 | ArtSeen
he twenty-two paintings in this ten-year survey of Amer Kobaslija’s work at the George Adams Gallery varied widely in size. The two largest were well over six feet across, while the smallest measured three-and-a-half inches to a side.