Reviews

Cézanne’s Radical Portraiture
Apollo Magazine

John Elderfield writes about Cézanne Portraits, an exhibition he curated, on view at the National Portrait Gallery, London through February 11, 2018. Elderfield writes that “the content of these paintings matters. One reason, I think, why there has never previously been a survey of Cézanne’s portraits is that his reputation, as it developed in the […]

Jennifer Packer @ The Renaissance Society
Frieze Magazine

Jennifer Piejko reviews Jennifer Packer: Tenderheaded at the Renaissance Society, University of Chicago, on view through November 5, 2017. Piejko notes that “Packer’s beautifully restrained paintings create a safe space in which to consider questions of mortality, subjectivity and belonging.”

Nicolas Carone: Visualizing the Imaginary and Unseen
Hyperallergic

Carter Ratcliff reviews Nicolas Carone: Imaginary Portraits at Loretta Howard Gallery (through October 28)and The Thing Unseen: A Centennial Celebration of Nicolas Carone, organized by Ro Lohin, at the New York Studio School (closed). Ratcliff notes that “The Studio School catalog is prefaced by one of Carone’s precepts: ‘The process is to draw the thing […]

Michael Berryhill and Evan Nesbit
Whitehot Magazine

David Ambrose reviews Michael Berryhill: a window, adore at Kate Werble Gallery and Evan Nesbit: Cellophane Grip at Van Doren Waxter Gallery (both on view through through October 28, 2017). Ambrose writes: “… each artist tries to thread the needle of contemporary painting: Berryhill working diligently on top of the threads, while Nesbit works from […]

Patrick Berran @ Chapter NY
Hyperallergic

Stephen Maine reviews works by Patrick Berran at Chapter NY, on view through October 28, 2017. Maine writes: “All works are untitled, done in acrylic and toner on panel, and dated 2017. The fine points of Berran’s complex technique are probably not relevant, but it may be helpful to know that the gel transfers and […]

Holly Coulis: Table Studies
Brooklyn Rail

Jason Rosenfeld reviews Holly Coulis: Table Studies at Klaus von Nichtssagend Gallery, New York, on view through October 22, 2017. Rosenfeld writes: “Coulis’s subjects are not erotic. They are not vanitas images. They are not naturalistic. Instead, they somehow propel you into an imaginative space of sign systems denoting some arcane language—Pale Table, Red Tumblers […]

Thomas Trosch @ Fredericks & Freiser
Art in America

Eric Sutphin reviews the recent exhibition Thomas Trosch: Paintings: New And Old at Fredericks & Freiser, New York. Sutphin writes: “Trosch has mastered the art of suggestion: one gets a sense of the ages and affects of the figures through dashes and globs of paint. He accomplishes the difficult task of marrying subject matter and […]

Robert Motherwell: Early Paintings
artcritical

Megan Kincaid reviews Robert Motherwell: Early Paintings at Paul Kasmin Gallery, New York, on view through October 28, 2017. Kincaid writes: “… Kasmin tackles a body of work that has been overshadowed by Motherwell’s critically lauded early explorations into collage and automatic drawing. Despite the commercial appeal of paintings and their prominence in Motherwell’s later career, […]

Power Color: Peter Saul at Mary Boone

Peter Saul has met the enemy and it’s us, and imparts this discomfort beautifully.

Expressionism Revisited
Painting Perceptions

John Goodrich reviews Crossroads: Lynette Lombard, David Paulson, and Thaddeus Radell at Sideshow Gallery, Brooklyn, on view through October 8, 2017. Goodrich writes: “Lombard’s paintings are unpopulated by human figures, and also appear to be anchored in immediate observations – though these are heightened by twisting, vertiginous plunges of space. Despite such distortions, Lombard’s sure sense […]

Ad Reinhardt: Blue Paintings
Brooklyn Rail

Eleanor Ray reviews Ad Reinhardt: Blue Paintings at David Zwirner Gallery, New York, on view through October 21, 2017. Ray writes: “Our idea of Reinhardt’s work, whether from reproductions or sporadic viewings, might tend to flatten it, and the in-person effect far exceeds that mental image. Having already been a fan of Reinhardt, I was […]

Rachel Rickert at E.TAY Gallery
artcritical

Roman Kalinovski reviews Rachel Rickert: The Ins and Outs at E.TAY Gallery, New York, on view through October 7, 2017. Kalinovski writes: “The strange pleasure that comes from visual frustration is a recurring theme in this exhibition. While Soft Boundaries and Verge present its two extremes with the curtain drawn and closed, respectively, and the […]

Alberto Giacometti and Alice Neel
The Nation

Barry Schwabsky investigates connections between the portrait paintings of Alberto Giacometti and those of Alice Neel. Schwabsky observes: “Although Neel and Giacometti both emerged from a left that was aligned with communism, neither one produced anything in a social-realist vein. It would also be wrong to see their insistence on portraiture as an acceptance of individualism. […]

Carolyn Case: The Mythic and The Mundane
Two Coats of Paint

William Eckhardt Kohler reviews Carolyn Case: Homemade Tatoo at Asya Geisberg, Chelsea, New York, on view through October 14, 2017. Kohler writes: “Case digs in with persistence, perseverance, and painterly inventiveness. Seeing this, one might think that paint and painting are the subject of these paintings, but that is only true in part. The paintings […]

Bernard Chaet: First Light
The New Criterion

Franklin Einspruch reviews Bernard Chaet: First Light at Alpha Gallery, Boston, on view through October 4, 2017. Einspruch writes that “[Chaet’s] landscapes are exuberant to the point of ferocity. Alpha Gallery in Boston is showing a suite of them produced during or inspired by plein-air sessions at dawn on the North Shore, towards and soon after the end […]

Emily Berger: Rhythm and Light
Huffington Post Arts: D. Dominick Lombardi

D. Dominick Lombardi reviews Emily Berger: Rhythm and Light at Walter Wickiser Gallery, New York, on view through October 25, 2017. Lombardi begins: “Emily Berger’s abstract paintings are the product of an intuitive process. Berger sees them as being about ‘thought and vision; they deal with light, space, movement, rhythm, color, speed and change, point […]

Brenda Goodman Cuts Deep
Hyperallergic

John Yau reviews Brenda Goodman: In a New Space continues at DAVID&SCHWEITZER Contemporary, Bushwick, Brooklyn through October 1, 2017. Yau writes: “Goodman renders the border between abstraction and representation meaningless. The internal sectioning of her forms invites us to categorize what we are looking at, even as they resist succumbing to that dominance. In the nearly […]

Leslie Wayne: Beyond Painterly
Two Coats of Paint

Sharon Butler and Jonathan Stevenson review Leslie Wayne: Free Experience at Jack Shainman Gallery, New York, on view through October 21st, 2017. They write: “… in his lecture series at Harvard in the 1980s, Frank Stella came up with the notion of ‘working space’ – that is, activating the space in front of the canvas by building out from […]

Suzan Frecon: The Pleasures of Slow Paintings
Hyperallergic

John Yau reviews Suzan Frecon: recent oil paintings at David Zwirner Gallery, New York, on view through October 21, 2017. Yau writes: “I think of Frecon’s shape as an abstract thing, a form that defies being turned into language or a message. I think her resistance to the tendency to easily convert her art into […]

Andrea Belag: Making Changes
Two Coats of Paint

Sharon Butler reviews Andrea Belag: Ghost Writer at Steven Harvey Fine Art Projects, New York, on view through October 15, 2017. Butler writes: “In [Belag’s] older work, the deep color triggered an inchoate emotional response, but now simple shapes and lines, truncated brushstrokes rendered in lively color, float on the picture plane. Many of the new paintings leave large […]