Reviews
Patricia Satterlee’s Painterly Silence
Hyperallergic
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 […]
Matisse/Diebenkorn @ SFMOMA
Squarecylinder
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, […]
Alexei Jawlensky @ Neue Galerie
Too Much Art
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 […]
Lygia Pape: A Multitude of Forms
Studio International
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 […]
Joan Waltemath @ Anita Rogers
Steven Alexander Journal
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 […]
Rauschenberg: The Confidence Man of American Art
New York Review of Books
Jed Perl reviews Robert Rauschenberg recently on view at Tate Modern, London. The exhibition will be on view at the Museum of Modern Art, New York from May 21 – September 17, 2017, and the San Francisco Museum of Modern Art from November 4 – March 25, 2018. Perl writes: “The trouble with Robert Rauschenberg is that adventure and […]
Shared Spaces: Dona Nelson Brings Back The Figure
artcritical
Hearne Pardee reviews Dona Nelson: models stand close to the paintings at Thomas Erben Gallery, New York, on view through May 13, 2017. Pardee begins: “Dona Nelson’s new works excite not just with their vigorous improvisation and inventive use of materials but with a new interactivity among the paintings themselves. After deconstructing conventional painting with […]
Brancaster Chronicles at Greenwich
AbCrit
Harry Hay reviews the recent exhibition Brancaster Chronicles at Greenwich at the Heritage Gallery. The show features works by Alexandra Harley, Anne Smart, Anthony Smart, Emyr Williams, Harry Hay, Hilde Skilton, John Bunker, John Pollard, Mark Skilton, and Robin Greenwood. Hay writes: “… if one was to visit the Brancaster Chronicles website, and if they were […]
Inventing Downtown
Joanne Mattera Art Blog
Joanne Mattera photoblogs a tour of the recent exhibition Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 at the Grey Art Gallery, New York University. Mattera notes: “Looking back, as this exhibition allows you to do, you see how important these cooperative efforts were, not only for the artists–many of whom went on to stellar […]
Constable and Brighton
Studio International
Anna McNay reviews Constable and Brighton at the Brighton Museum & Art Gallery, on view through October 8, 2017. McNay writes: “The exhibition is structured around three walks that Constable would regularly make: westwards towards Shoreham Bay, northwards towards Devil’s Dyke, and eastwards to the Chain Pier. Largely eschewing the town centre, he would systematically […]
Maureen Gallace @ MoMA PS1
New York Times
Jason Farago reviews Maureen Gallace: Clear Day at MoMA PS1, Queens, on view through September 10, 2017. Farago writes: “… Ms. Gallace does not paint en plein air. These seemingly regional artworks are created in a New York City studio far from the hush of New England, with the help of sketches and photographs. Note […]
Shawn Thornton’s Intricate Cosmos
Hyperallergic
John Yau reviews Shawn Thornton: Pareidolia at CUE Art Foundation, New York, on view through May 24, 2017. Yau concludes: “Thornton has likened his work to a “cosmos of small tantric paintings that come together as anthropomorphic circuit boards.” In a number of the paintings, he overlays these circuit boards onto his self-portrait, so that […]
Harvey Quaytman @ Van Doren Waxter
artcritical
David Carrier reviews Harvey Quaytman: Hone at Van Doren Waxter, New York, on view through April 28, 2017. Carrier writes: “In the 1980s when I met him, I got to know a great many abstract painters. Harvey was the happiest artist I had the pleasure of meeting. I think, even if you never met him, […]
Quicktime: Fast, Casual Painting
Two Coats of Paint
Becky Huff Hunter reviews Quicktime at the Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, on view through April 22, 2017. The show features works by Marina Adams, Amy Feldman, Ann Craven, Melissa Meyer, and Patricia Treib. Hunter writes: “In the show, twelve recent, mostly large-scale, conventionally stretched works share fast-looking brush strokes; few visible layers […]
David Reed: Poems Without Words
Art in America
Raphael Rubinstein reviews Painting Paintings (David Reed) 1975 on view through May 21, 2017 at 356 S. Mission Rd, Los Angeles, California (previously on view at the Rose Art Museum at Brandeis University and Gagosian Gallery, New York). Rubinstein writes: “I came out of ‘Painting Paintings (David Reed) 1975’ at Gagosian, where I saw this exhibition, thinking that […]
Camille Pissarro: The First of the Impressionists
Apollo Magazine
Laura Gascoigne reviews Camille Pissarro: The First of the Impressionists at the Musée Marmottan Monet, Paris, until July 2, 2017. Gascoigne begins: “If asked to name the key figure in Impressionism, few people today would nominate Camille Pissarro… Yet to his contemporaries this quiet revolutionary was the unifying force behind the movement that he had helped […]
Frédéric Bazille & the Birth of Impressionism
The New Yorker
Peter Schjeldahl reviews Frédéric Bazille and the Birth of Impressionism at the National Gallery, Washington, D.C., on view through July 9, 2017. Schjeldahl writes: “What makes the show great is the point of view that it affords not only on the birth of Impressionism but also on the general dawning of modernist sentiments and sensibilities. […]
Howard Hodgkin: Paintings That Shout
New York Review of Books
Jenny Uglow reviews Howard Hodgkin: Absent Friends at the National Portrait Gallery, London, on view through June 18, 2017. Uglow writes: “It always feels wrong to scatter words around Howard Hodgkin’s paintings. Their tactile richness should just burn into eyes and minds, leaving a trace behind the eyelids, a memory to which we can return. […]
Sputterances @ Metro Pictures
Art Agenda
Tim Gentles reviews Sputterances organized by Sanya Kantarovsky, at Metro Pictures, New York, on view through April 22, 2017. Gentles writes: “It’s not immediately clear what unites these artists, much less around [René] Daniëls—few, if any, have had a direct relationship with the artist, but all seem to share with Daniëls (and, it should be said, with […]
Sandro Chia at Marc Straus
Brooklyn Rail
Jonathan Goodman reviews a recent exhibition of works by Sandro Chia at Marc Straus Gallery, New York. Goodman writes: “It is hard to read Chia’s inclination for forthright feeling in an environment like ours—dominated by the market and mostly biased against a recognizable awareness of art history. In contrast, in a painting such as Looking […]