John Haber reviews the two part exhibition Pour at Asya Geisberg Gallery and Lesley Heller Workspace, New York, on view through May 24, 2013. The shows, curated by Elisabeth Condon and Carol Prusa, feature works by Ingrid Calame, Kris Chatterson, Roland Flexner, Angelina Gualdoni, Carrie Moyer, Carolanna Parlato, David Reed, Jackie Saccoccio, and Carrie Yamaoka.
David Cohen reviews an exhibition of paintings by Hilary Harkness on view at the FLAG Art Foundation, New York, through May 18, 2013. Cohen writes that Harkness' "newer work dispenses with the assured absurdist humor of her trademark strategy and puts her in uncharted water in which human foible takes over from inhuman gesture. Meanwhile,
Sebastian Smee reviews a retrospective exhibition of paintings by Jon Imber at the Godwin-Ternbach Museum, Queens College, New York, on view through June 15, 2013. Smee writes that Imber's paintings "have an unusually insistent pull — you feel something vital at stake...Imber has wrestled with different influences, different styles, and different subject matter all his
Arthur Peña talks to painter Judy Glantzman about the work in her recent exhibition at Betty Cuningham Gallery, New York. Glantzman comments: " I am looking for 'shorthand' symbols that speak of war. The large collages are very physical, so the intuitive process has a lot to do with tearing and layering. Chance plays a
Yevgeniya Traps reviews the exhibition Jay DeFeo: A Retrospective at the Whitney Museum of Art, New York, on view through June 2, 2013. Traps writes: "In some ways, [DeFeo's] work echoed the Beats: The Rose, in its making, is one continuous poem, bound up with the artist’s body no less than Ginsberg’s long poem, which
Paul Behnke photo blogs installation images from the exhibition Andrew Seto, Lazy Reader at Theodore:Art, Bushwick, Brooklyn, on view through June 16, 2013. The unusually poetic press release for the show reads: "Paradox / contradiction / fleeting / memory / dark / draw / love / loss / look / celebration / confession / poems
Art Experience NYC
Saul Ostrow reviews recent exhibitions of "two 'minimalist' painters, who lie outside the canon": Alan Uglow at David Zwirner and Ted Stamm at Marianne Boesky Gallery, New York. Ostrow notes: "Though under-acknowledged, Uglow and Stamm might best be considered artists whose primary audience are other artists and art world aficionados. Both had noted careers; exhibiting
James Kalm visits the exhibition James Biederman: Don't Have Red in Sight at Janet Kurnatowski Gallery, Brooklyn, New York, on view through May 26, 2013. Kalm comments: "Using intimately scaled shaped canvases, and reduced painterly incident, [Biederman's] new work balances ideas of painting and object making that reference masters like Elizabeth Murray and Ellsworth Kelly."
A photo blog by Sharon Butler photo blogs images of paintings from the Frieze Art Fair that share a common trait: unprimed canvas. Butler begins: "Since the early days of Color Field painting, working on unprimed canvas or linen has given the impression of a certain unfinished immediacy--more like the page of a sketchbook than
John Haber reviews four painting shows in New York: Canan Tolon at Von Lintel (through May 25), Scott Treleaven: All-Nite Cinema at Invisible Exports (through June 2), Don Gummer: Recent Works at Allegra LaViola Gallery (through June 1), and Bob Zoell/Wyatt Kahn at Rachel Uffner (through June 2).
Deven Golden reviews the recent exhibition Stanley Whitney: Other Colors I Forget at Team Gallery, New York. Golden writes: " the work displays a beguiling simplicity. There are sixteen or twenty rectangles in each square painting and they are, more or less, evenly apportioned four down and four, or five, across – not by ruled
Martin Gayford talks to four painters - Tom Phillips, Christopher Le Brun, Michael Craig-Martin, and Sean Scully - about the paintings of Manet on the occasion of the recent exhibition Manet: Portraying Life at the Royal Academy, London. Gayford writes that each artist "who talks about Manet here admires him as a supreme master of
Thaddeus Radell reviews the exhibition Anthony Fisher: Recent Works at Galerie Mourlot, New York, on view through May 20, 2013. Radell writes: "Upon first viewing, these works could easily be interpreted as completely synthetic constructions conceived entirely by memory, imagination or some sort of narrative conception. Though Fisher does indeed use memory, he is essentially
Dennis Kardon reviews the exhibition Between Silver Light and Orange Shadow: Paintings by Elena Sisto at Lori Bookstein Fine Art, New York, on view through May 25, 2013. Kardon begins: "Sentimentality, nostalgia, and illustration are the common pitfalls for a figurative painter undertaking to represent feeling and emotion — particularly when the imagery is invented
DeWitt Cheng reviews a recent exhibition of works by Dorothea Tanning at Gallery Wendi Norris, San Francisco. Cheng writes that "Tanning created a forceful combination of erotic danger and allure... A push-pull between attraction and repulsion powers the abstract images of tangled, submerged female figures, flying or falling that evolved in her 'prism' or 'insomnia'
Xico Greenwald reviews two abstract painting shows on the Lower East Side: Don Voisine at McKenzie Fine Art (through June 9) and Bob Zoell/Wyatt Kahn at Rachel Uffner Gallery (through June 2). Greenwald writes that Voisine's "oil-on-wood abstractions here have fastidious surfaces, harmoniously combining glossy, matte and semi-reflective graphite finishes... [Zoell] "crosses out words with
Elisabeth Kley previews an exhibition of works by Simon Hantaï on view at Paul Kasmin Gallery, New York, through June 22, 2013. Kley writes that the current show includes "six works from Hantai's 'Tabula' series, created in the early 1980s, with their slashing leaf-shaped areas of unpainted canvas. Visions of plenitude and emptiness expressed through
Alan Gouk argues that visual art and language share little in common. Gouk writes: "the relationship of words, either spoken or written, to 'things,' is a world away from that of visual sensation to its pictorial presentment. The pictographic representation of a tree has a morphological link to its object – this means that its
Ed Schad reviews the exhibition Richard Serra: Double Rifts at Gagosian, Beverly Hills, on view through June 1, 2013. Schad writes that Serra's drawings engender for him simultaneous thoughts of the "universal" and the "local." Schad notes that viewing the exhibition, "I think of how a Newman zip could send Walter Di Maria to the
Christopher Joy and Zachary Keeting visit the studio of painter Alexi Worth. Worth discusses his recent work: " ...a few years ago I got very interested in the idea of nearness, things that are right up between your hand and your face, so… your own shadow, or an implication or suggestion of it, is designed