Link posts — Page 17

R.C. Baker reviews paintings by Joan Mellon at Carter Burden Gallery, New York, on view through March 23, 2017. Baker writes that "[Mellon's] abstractions can evoke the sense of a searching, back-and-forth discussion — not to mention the occasional heated argument."

Ron Morosan interviews painters Martha Edelheit and Jay Milder whose work is included in Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 at the Grey Art Gallery, New York University, on view through April 1, 2017. Edelheit notes: "The artists I knew and met were concerned with having a space to show their work,

Sharon Butler reviews A New Subjectivity: Figurative Painting after 2000, curated by Jason Stopa, at Pratt Manhattan Gallery, New York (through April 12). The show features works by Katherine Bradford, Katherine Bernhardt, Gina Beavers, Jackie Gendel, Liz Markus, and Rose Wylie. Butler writes that curator Jason Stopa "makes a strong case that contemporary painters, particularly

Jennifer Samet reviews painting at the The 2017 Whitney Biennial continues at the Whitney Museum of American Art, New York, on view through June 11, 2017. Samet writes: "This year, the Whitney Biennial includes plenty of painting. And — for the most part — the painting is on message. It’s eccentric figuration with political content.

Gaby Collins-Fernandez considers the work of Georgia O'Keeffe. Collins-Fernandez concludes "The openness with which O’Keeffe considers observation allows a viewer to track formal similarities between the works. It’s just that what she was looking at was not so limited—her dreams and thoughts, photographs, landscapes, art she’d seen, edges, shadows, shapes. This variety, and the ease

Holland Cotter reviews Mor Faye: The Untitled Series, Works On Paper, 1969-84 at Skoto Gallery (through March 18) and Ernest Mancoba at Aicon Gallery (through April 8). Cotter writes: "Stylistically, [Mor Faye's] work is kaleidoscopic, the binder being its propulsive energy. This is fabulously inventive picture-making. I can easily imagine young painters delighting in it,

Ezrha Jean Black reviews Lisa Adams: Petrichor at CB1 Gallery, Los Angeles, on view through April 9, 2017. Black writes: "Adams’ work has always reflected an acute sensitivity to the physical environment – both the macrocosmic view and its moment-to-moment experiential aspect. But above all she follows her own muse; and language – the poetry

Sam King interviews painter Christina Renfer Vogel whose exhibition Home Bodies is on view at the Christensen Art Center at Augsburg College, Minneapolis, MN, through March 23, 2017. Vogel comments: "Like working from the landscape, plants serve as a vehicle for me to build a painting in a new way, offering unexpected and complex visual

Jennifer Samet interviews painter Jennifer Coates, whose exhibition All U Can Eat is on view at Freight + Volume Gallery, New York, through April 16, 2017. Coates: "There are a lot of painting jokes. There are all kinds of moments where I think I can pretend to be this or that artist. It is very

John Bunker reviews the recent exhibition Painting & Structure at the Kennington Residency, London. The show featured works by Daniel Sturgis, Mali Morris, Sophia Starling, Andrea Medjesi-Jones, Kes Richardson, and James Campion. Bunker writes: "This show brings together an interesting mix of painters who tend to ‘play’ with the tension between crafted excess and severe

Katarina Wong reviews the recent exhibition Alex O’Neal: Hiding Places in a Dream at Linda Warren Projects, Chicago. Wong writes: "O’Neal tends to pack all of the action in the foreground of his paintings, so much so that it feels as if the air has been purposefully sucked out of the space. People and objects,

Christopher Knight reviews the recent exhibition Petra Cortright: quack doctor violet "saltwater fish" at 1301PE, Los Angeles. Knight begins: "Cortright’s paintings wedge themselves between the celebrated history of gestural art, mostly Expressionist and abstract, and the past generation’s frantic upheaval of established visual norms generated by the emergence and now ubiquity of digital imagery."

Piers Veness reviews Peter Halley: Paintings from the 1980s at Modern Art, London, on view through March 18, 2017. Veness writes that the paintings on view "[return] us to the familiar shapes, colours and textures of Peter Halley – the hard-lined geometry of Glowing and Burnt-Out Cells with Conduit (1982), for example, with its characteristic

Stephen F. Eisenman reviews Ralph Coburn’s Random Sequence at the Arts Club of Chicago, on view through April 22, 2017. Eisenman writes: "what is most remarkable is that Coburn’s multi-section paintings incorporate choice: the owner-curator is expected to rearrange the parts as she wishes. The idea, which has its origins in Dada with Jean Arp

Alfred Mac Adam reviews the recent exhibition Elise Ansel: Dialogue at Danese/Corey Gallery, New York. Mac Adam writes: "Ansel investigates the 'dialogues' her paintings establish with the great masters ... We can identify three moments in the gestation of Ansel’s version: first, her contemplation of the original in one form or another (in person, in

Robin Greenwood reviews Victor Pasmore: Towards a New Reality at Pallant House Gallery, Chichester, on view through June 11, 2017. Greenwood concludes: "... right from the off, his paintings show an interest in spatiality and volume, starting with the Cézanne-esque Bradman Still Life of 1929, which emphasises rounded three-dimensionality over planar flatness; and continuing right

John Yau reviews R. B. Kitaj: The Exile at Home at Marlborough Contemporary, New York, on view through April 8, 2017. Yau writes: "B. Kitaj was passionately–one might almost say, defiantly–a literary painter. That was not a politic thing to be in the postwar art world, when abstraction became the mainstream and even most representational

Martin Gayford's 2010 profile of painter Howard Hodgkin (1932–2017), republished to mark the artist's passing this week at age 84. Gayford notes that "[Hodgkin's] work is deeply paradoxical. For one thing, it frequently looks abstract at first and even second glance, but it is actually figurative and rooted in his experience... Hodgkin is an intensely

Dennis Kardon reviews Jordan Kasey: Exoplanet at Nicelle Beauchene Gallery, New York, on view through March 12, 2017. Kardon writes: "The force that drives the engine of Kasey’s work is her eschewal of the flat-earth ideology (collaged, cartoony or photo-derived, super-flat figuration) of many of her contemporaries. Although sharing formal explorations with older painters like

Alice Spawls reviews works by Cy Twombly at the Centre Pompidou, Paris, on view through April 24, 2017. Spawls notes: "For all that his paintings groan under the weight of writing about them, and their own allusiveness (many feature lines of poetry or have ‘poetic’ titles), Twombly wasn’t an ideas artist. He disagreed with the