Whitehot Magazine
Joseph Nechvatal reviews Robert Ryman: The Act of Looking at the Musée de l’Orangerie, Paris. Nechvatal observes: "The piece with oil on aluminum panel and four bolts called Accord (1985) I think is the best in the show, because the rolled or sprayed ‘pure’ opticality of the white surface (leitmotif of the Ryman style) on
Whitehot Magazine
Noah Becker interviews painter Donald Martiny about his work. Discussing the germination of the ideas that inform his current work Martiny recalls: "A turning point occurred one day in the studio a little over a decade ago while I was starting a new painting—a de Kooning kind of gestural study. I had painted a single
Whitehot Magazine
Jonathan Goodman reviews Elisa Jensen: 100 Boats and the Fair Wheel, recently on view at David & Schweitzer Contemporary, New York. Goodman writes: "[Jensen's] offering, which argues for a bronze-age reading of Brooklyn contemporary art, consists of a wall installation of diminutive golden boats, a group of small paintings, a few larger paintings, and a
Whitehot Magazine
Jonathan Goodman reviews a recent exhibition of works by Syd Solomon at Berry Campbell, New York. Goodman writes that Solomon "opens up a genuine understanding of the abstract-expressionist movement—we see the art and not the painter overwhelming the art. The vertical work called Summer Spell (1985), with its skeins and wisps of color—white, yellow, blur,
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
Whitehot Magazine
Deborah Krieger writes about Brenda Goodman's recent paintings which will be on view in Goodman's show In a New Space at David & Schweitzer Contemporary, New York, from September 8 - October 1, 2017. Krieger writes: "The visual language and vocabulary Goodman has used—and continues to use—to reflect her frame of mind is always evolving,