Reviews — Page 20

Xico Greenwald reviews Gregory Amenoff: New Paintings at Alexandre Gallery, New York, on view through October 29, 2016. Greenwald writes that Amenoff's "landscape-based abstractions teeming with organic shapes that suggest trees, caves, plant cells, soil, sky and water. But the forms here are not based on careful observation of the natural world. Rather, these are

Steven Alexander blogs about Ed Moses: Painting as Process at Albertz Benda, New York, on view through October 15, 2016. Alexander writes: "Central to Moses' work is the notion of constructing a painting through a process of interacting with materials, of setting a process in motion, and accepting the results... Bolstered by a large selection

Joyce Beckenstein reviews Bradley Walker Tomlin: A Retrospective opening at The Dorsky Museum, New Paltz, on view through December 11, 2016. Beckenstein begins: "Filling in the personal and art historical gaps that have lingered in the forty years since Tomlin’s last full dress show, this exhibition deftly tracks this artist’s idiosyncratic style, one that lives

Piri Halasz reviews Richard Pousette-Dart: The Centennial at Pace Gallery, New York, on view through October 15, 2016. Halasz writes: "this show has a number of paintings that yank the artist out of his stately cubo-surrealist orbit of the 40s and situate him far more certainly in the tempestuous ensuing decade... they situate their creator

Jonas Wood’s current show demonstrates how photography may expand contemporary painting’s enterprise.

Faye Hirsch reviews the recent exhibition Rochelle Feinstein: I Made a Terrible Mistake at the Städtische Galerie im Lenbachhaus, Munich. The show will be on view at the Bronx Museum of the Arts from June 27 - September 22, 2018. Hirsch begins: "Rochelle Feinstein is tough on painting while remaining a true believer. Work by

Daniel Gerwin reviews Glenn Goldberg: Somewhere at Charlie James Gallery, Los Angeles, on view through October 15, 2016. Gerwin writes: "As I stood among his paintings, I became physically aware of a subtle conflict between sensual thrill and intellectual restraint... In 'Okay (Blue)' a rubber ducky shares the foreground with a highly stylized vertical stalk

John Bunker reviews Robert Motherwell: Abstract Expressionism at Bernard Jacobson Gallery, London, on view through November 26, 2016. Bunker writes: "Motherwell has a reputation for being the clever aesthete who was always too enamoured of the ‘Old World’ of Mediterranean sunshine, azure skies, Gauloises packets – and always with an eye for rare book wrappers

Jill Spalding reviews Ed Moses: Painting as Process at Albertz Benda, New York, on view through October 15, 2016. Spalding writes: "With a restless promise that won him a solo show in 1957 at the then nascent Ferus Gallery, [Moses] never ceased to experiment. He worked with latex, to great sales and acclaim, but reverted

Julian Kreimer reviews the recent exhibition Rubens Ghenov: Accoutrements in Marwa, an Interlude in Sliver at Morgan Lehman Gallery, New York. Kreimer writes: "Ghenov has absorbed the poet’s mantra that the fewer elements in a work, the more each of them matters... [his] ability to balance a powerful sense of nostalgia with an intensely slippery

John Yau reviews Gary Petersen: Back There Behind the Sun at McKenzie Fine Art, New York, on view through October 16, 2016. Yau writes: "Gary Petersen’s skewed geometric paintings call forth analogies to music and architecture, a realm of vertical intervals and diagonal supports spliced into a precarious balance... His off-center, stacked shapes have a

John Yau reviews paintings by Kyle Staver at Kent Fine Art, New York, on view through October 22, 2016. Yau concludes: "By introducing a touch of comedy, Staver opens up well-known myths and stories, making them more human than lofty. Wit, tenderness and empathy inform her views of the tragic, suggesting that we are not

Roberta Smith reviews No Limits: Zao Wou-Ki at Asia Society, New York, on view through January 8, 2017. Smith writes: "It is an intriguing, peripatetic, at times beautiful affair of 60 works from 1943 to 2003, with paintings on canvas and paper, watercolors and several kinds of prints. Yet Zao slips through your fingers, running

John Yau reviews Endymion: Recent Paintings by Clintel Steed at Steven Harvey Fine Art Projects, New York, on view through October 9, 2016. Yau writes: "Steed strokes the paste-like paint onto the surface, creating an uneven tactile skin that is pebbled and brushy. This tactility is at odds with our digital world – its endless

Shana Dumont Garr reviews the recent exhibition Stephanie McMahon: Close to Me at T+H Gallery, Boston. Garr writes: "In Blue Nude (2016) ... sharp angles still betray the human touch and coexist with more organic brushwork. These are among the paintings that offer a contemporary take on a collage sensibility, one informed by the digital

Norbert Marszalek blogs about a visit to Red: Ming Dynasty/Mark Rothko at the The Arthur M. Sackler and Freer Gallery of Art at the Smithsonian Institution, Washington D.C., on view through February 20, 2017. Marszalek writes: "The painting is Rothko’s Untitled (Seagram Mural sketch) from 1959 that was part of his Four Seasons commission. The

James Panero reviews Stuart Davis: In Full Swing at the Whitney Museum of American Art, New York, on view through September 25, 2016. Panero writes: "The particular genius of Davis’s subsequent modernist direction was how he went on to integrate European stylistic innovation with his unique Ashcan vision. Through the flattening, flickering, fleeting perspectives of

Edward M. Gómez reviews Elisabeth Condon: Bird and Flower at Lesley Heller Workspace, New York, on view through October 16, 2016. Gómez writes: "To produce her latest canvases, Condon has experimented with some new approaches that, in effect, have made the production of her variety of abstraction as much the subject of these new works

Mark Pohlad reviews Contemplations: Dan Ramirez Works from the Permanent Collection at the National Museum of Mexican Art, Chicago, on view through October 9, 2016. Pohlad writes: "Ramirez’s works reward careful viewing. Lines gradually attenuate and vanish, the edges of pieces are painted, and shadows are cast by slightly askew interstices. But all this formal

Maria Howard reviews Etal Adnan: The Weight of the World at the Serpentine Gallery, London, on view through September 11, 2016. Howard writes: "[Adnan's] paintings evoke sheer joy, their style unpretentious, not naive but innocent, at odds with her poetry and writings that bear witness to the violence of the world. They may seem like