Beyond their doubts, Siciliano’s paintings esteem the powerful legacy of Italian figurative art and its place in contemporary art.
In Milewicz’s drawings, stillness prevails, the way actual scenes seem to suspend themselves before our gazes.
The magical display of rendering form from flatness underlines the primary power of all painting.
In Jane Fine’s recent work, painting’s power to beautify dark feeling, particularly in the more somber-hued small works, is masterfully on display.
In elegant blends of old and new, Hao Liang’s show honors Chinese painting’s great landscape tradition as it abates its current “anxious relationship between the ancient and the modern”.
Margaret McCann reviews an exhibition of works by Kurt Kauper at Almine Rech.
Through the decades Desiderio’s “sensate wisdom,” the unique visualizing capabilities Alberti ascribed to painting, have persevered, balanced with a savvy contemporary approach to subject.
In Lisa Yuskavage’s paintings, dark humor and acrid color are mitigated by luminosity and sensitive execution.
Peter Saul has met the enemy and it’s us, and imparts this discomfort beautifully.
Susan Lichtman’s paintings engage representation and abstraction, and bring a novel female perspective to Intimist iconography.
Viewers are now free to roam exhibitions with both figurative and abstract associations, without ideological guilt. Bailey’s poetic equivocations invite this in peaceful contemplation.
The persistent problem Gale’s fine paintings occupy – simple abstract absolutes, multiplied by the complexity and challenges of perception, minus deceptions of illusion.
Stanley Lewis follows Giacometti’s emotive inroads with more pleasure than doubt, searching stabilized both by perspectival logic and moments of detail.
Jonas Wood’s current show demonstrates how photography may expand contemporary painting’s enterprise.
Margaret McCann interviews painter Megan Marlatt.