Exhibitions — Page 9

James Romm reviews The Berlin Painter and His World‌, on view at the Princeton University Art Museum through June 11, 2017. Romm writes: "The Berlin Painter began working at the end of the sixth century BC, when the red-figure technique of vase painting—in which black glaze fills the background, leaving silhouettes of unglazed red ceramic

Jonathan Goodman reviews Painters' Lives: Marguerite Loupe and Maurice Brianchon at the Grossman Gallery, Lafayette College in Easton, Pennsylvania. Goodman writes: "Louppe and Brianchon may not have been painters of major insight, but their fine possession of craft made them practitioners of genuine realization. They helped maintain the general level of painting practice in France

Lev Feigin reviews Celia Reisman: A Moment Noticed at Gross McCleaf Gallery, Philadelphia, on view through May 26, 2017. Feigin writes: "Only in 'Echo Park Coral' do we witness contact between two people. The couple at the lower end of the composition – we only see their heads and shoulders – face each other in

Angeria Rigamonti di Cutò interviews painter Peter Dreher on the occasion of his exhibition Day by Day, Good Day at Mayor Gallery, London, on view through June 2, 2017. Dreher comments: "... adherence to one motif and its repetition does not represent a limitation but rather a liberation. It allows me to concentrate on what

Maggie Gray visits the studio of painter Markus Lüpertz on the occasion of two concurrent retrospectives in Washington D.C.: Markus Lüpertz: Threads of History at the Hirshhorn Museum (May 24 – September 10) and Markus Lüpertz at the Phillips Collection (May 27 – September 3) Lüpertz remarks: "There is nothing new in painting. It is

Charles A. Riley II reviews three New York exhibitions: Ellsworth Kelly: Last Paintings and Plant Drawings at Matthew Marks Gallery (through June 24), Robert Mangold Paintings and Works on Paper 2013 - 2017 at Pace Gallery (through June 17), and works by David Novros at Paula Cooper Gallery (through June 30). Riley notes: "Touring this

Arthur Peña interviews painter Stanley Whitney on the occasion of the exhibition FOCUS: Stanley Whitney recently on view at The Modern, Fort Worth, TX. Whitney comments: "It happens in the color. People bring their own stories to it and the work allows for them to happen all at once. The titles do that to. Peaches

Ted Dodson reviews Cynthia Daignault: There is nothing I could say that I haven't thought before, recently on view at the Flag Art Foundation, New York. Dodson writes that the show "collects three separate series of paintings. Together, they continue her signature conceptual methodology, expanding on previous considerations of viewership, representative painting, and existential feminism

Gary Brewer visits the studio of Mark Dutcher whose show Another World is on view at Jason Vass Gallery, Los Angeles through June 3, 2017. Brewer writes that "[Dutcher's] approach can express innocence and joy in passages where the canvas remains fresh and present and the paint is applied lightly. In other works where an

Jennifer Samet reviews Mercedes Matter: A Survey: Paintings & Drawings from 1929 to 1998 at Mark Borghi Fine Art, New York, on view through May 26, 2017. Samet writes: "Matter’s insistence on the nude female body, and on still lifes of flowers, drapery, and skulls as the focus of observational painting — for herself and

Alice Spawls reviews Vanessa Bell: 1879-1941 at Dulwich Picture Gallery, London, on view through June 4, 2017. Spawls writes: "Despite the obvious influence of Matisse on her work, the artist Bell often seems closest to in spirit is Bonnard. There is an affinity in their domestic playfulness, in the shimmer of marks and diffusive pinks

Christiana Spens reviews Joan Eardley: A Sense of Place at the Scottish National Gallery of Modern Art, Edinburgh, on view through May 21, 2017. Spens writes: "By combining the freedom of abstract expressionism, along with the familiarity of local places, [Eardley] invoked a wild sublime in these Scottish scenes that remains unique and arresting... Eardley’s

Len Green reviews Patrick Jones: No Pasaran recently on view at the PS45 Gallery, Exeter, March 10 – April 9, 2017. Green begins: "The exhibition “No Pasaran” represents a life-long artistic journey by Patrick Jones, a journey which illustrates how he and his work have been affected by artistic influences from America and Europe. The

James Kalm visits Florine Stettheimer: Painting Poetry at the Jewish Museum, New York, on view through September 4, 2017. Kalm notes: "Through her involvement in the art world Stettheimer came in contact with the most advanced members of the avant-garde who had flocked to New York, like Marcel Duchamp and Francis Picabia. Not having to

Sarah Douglas reviews Philip Guston and The Poets at the Gallerie dell’Accademia, Venice, on view through September 3, 2017. Douglas writes that "the show, curated by Guston scholar Kosme de Baranano, is built–somewhat loosely–around Guston’s reading of and relationships with poets. There are the whimsical works on paper he made to illustrate his wife Musa

Thomas Micchelli writes about the paintings of Patricia Satterlee whose exhibition Already Gone is on view at the Martin Art Gallery of Muhlenberg College, PA, through May 26, 2017. Micchelli writes: "These forms are limitlessly varied and undeniably strange... Satterlee puts these motifs through their formal paces — rotating and mirroring them; reducing them to

Lawrence Gipe reviews Matisse/Diebenkorn at SFMOMA, on view through May 29, 2017. Gipe writes: "Curators Janet Bishop and Katherine Rothkopf have designed a rhythmic exhibition of 'pairs,' each of which is designed to illustrate Matisse’s sway over Diebenkorn... Without a doubt, Matisse/Diebenkorn delivers an intriguing narrative of inspiration and obsession: as the curators present it,

Mario Naves reviews Alexei Jawlensky at the Neue Galerie, New York, on view through May 29, 2017. Naves notes: "Though Jawlensky tilted towards abstraction, he never completely abandoned representation. The splotchy landscapes displayed at the center of the exhibition test the limits of recognizability even as Jawlensky continues to hold onto things—hillocks and trees, clouds

Natasha Kurchanova reviews Lygia Pape: A Multitude of Forms at the Metropolitan Museum of Art, New York 21 March – 23 July 2017. Kurchanova writes: "The exhibition gives an insight into the development of modernism in Brazil, a country to which it was an extraneous mode of aesthetic language, developed under the influence of a

Steven Alexander blogs about Joan Waltemath: Fecund Algorithms at Anita Rogers Gallery, New York, on view through June 1, 2017. Alexander writes: "Waltemath's rich surfaces are built with a dizzying variety of materials, and her process occupies an uncanny zone between precision and spontaneity, with the physicality of the material being always present. Like visualized