We lost Jane Freilicher two days before a planned public celebration of her 90th birthday on December 12th, which poignantly turned into a memorial honoring her life and work.
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.
Irremediably we became members of the rebellious children seminar. / Beehives, intestinal cocoons, Rembrandts Carcas of Beef / (That inspired Soutines) precede our rebellion.
I am indebted to the Louisiana Museum for sparking my interest in emerging Nordic art. Starting in the mid-1990s, my visits provided first encounters with the work of several artists who have held my attention ever since: Eija-Liisa Ahtila, Olafur Eliasson, Elmgreen & Dragset, Nils Erik Gjerdevik, Henrik Håkansson, Superflex, and Tal R.
Normally, theres a visually obvious distinction between figurative and abstract paintings. John Constable shows English landscapes, while Jackson Pollocks large late-1940s abstractions depict nothing real.
James Hoff makes paintings with a printer. He does not engage in a tug-of-war with the machine, like Wade Guyton, whose means of creating paintings centers on forcing a canvas past ink jets.
Tranquil, sunny scenes of a British town fill the first frames of Gillian Wearings latest film, We Are Here, showing at Maureen Paleys landmark gallery in East London.
Interspersed in a two-person show in San Francisco, the work of Cary Smith and Don Voisine is heavy on black and white, with notes of color punctuating in concert and alone.
Neo Rauch has all but cornered the market on post-modern historical painting. While his histories dont overtly present as such, he does thread a specific temporal narrative (German, idealist) through what one might describe as the hangover dream of the repressed nation-state.
In using her body as both the image and site of her work, Aneta Grzeszykowska continues the dialogue and tradition of such artists as Cindy Sherman, Hannah Wilke, Ana Mendieta, and, most obviously in this exhibition, Alina Szapocznikowanother Polish sculptor whose work traffics in bodily fragmentation.
For Michelle Grabner, there is no distinction between her life and her art. She is a consummate artist with a conceptual agenda: to what degree can the domestic and the artistic be fused?
Night and Day is the first major U.S. retrospective of the work of British artist Chris Ofili, mounted just four years after his major retrospective at the Tate.
Youve very likely seen Tom Otternesss trademark figuresa carnivalesque collection of mischievous characterswithout even knowing it. His permanent installation entitled Life Underground (2004), which fills the 14th Street/8th Avenue subway station, often prompts hasty New Yorkers and tourists alike to stop and snap a picture, or watch tenderly as their children attempt to converse with a statue.
Spotting, scratching, pressing down, building up marks that / Radiate from the central orbit. / As though the wattle and daub structure beneath has allowed / For his journey to the center of Cerchio Di Dante.
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.
Francesco Vezzoli is an artist whose work telescopes time. His needlepoint pieces starring actresses and models as Madonna with child, created in Italy in the late 90s, collide classic tropes with a more familiar, dynamic modernity.
Its unlikely Dan Allende, the artist behind Humans: The Secret Life of Martin Handford, follows ant research. His clothing-optional show at Three Four Three Four, however, a nomadic gallery run by the artist Nick Fusaro, indicates hes imbibed the science of mass decentralized action and the potential for using living entities as building blocks.
Since last winter, a formidable presence has resounded across the cavernous interior of The Cathedral of St. John the Divine in Upper Manhattan. It is not that of the divine, although that too is surely there.
The work of Richard Jacobs reaches us slowly. For many years, this Yale MFA graduate has painted in the seclusion of his Vermont studio. Although Jacobss paintings immediately reference the urgency of AbEx gestures and even Arps early chance collages, there is an indirectness in his process that literally requires the paintings to take time to develop, not so unlike an analog photograph.
Julian Stanczak’s solo show at Mitchell-Innes & Nash coincides with the 50th anniversary of his first New York exhibition at Martha Jackson Gallery in September 1964. Titled Optical Paintings, the young artist’s show was reviewed in Arts Magazine by Donald Judd, who offered a concise summary of the artist’s biography.
Endless emptied buckets in a vertical matrix that evoke / Both his ancestors action to honor those soldiers / Who defended Târgu Jiu and Kafkas cryptic fable of / The rider who came away empty from a coal merchant.
One hundred years ago saw the beginning of World War I and the end of the elaborately codified tradition of wearing mourning. As the phrase indicates, the word mourning had by that time become synonymous with the apparel worn, mainly by women, during the formal mourning period, transforming the internal process of grieving the dead into a codified expression and performance of this process.
As a photographer, Moby’s efforts have been predominantly autobiographical. His 2011 book of images, Destroyed,offered a view into the life of a travelling musician: empty hotel rooms, paparazzi lying in ambush at the arrivals gate, and fans in ecstasy, viewed from the stage.
No better time than the present, considering the parlous state of the world, to create an exhibit as audacious and ambitious as Sade: Attacking the Sun. With a focus not on the man and the scandals but on his range of influence and continuing pertinence, it mounts a considerable array of visual works that includes many from iconic figures not usually associated with the customary Sadean triad of sexual excess, violence, and perversion.