Link posts — Page 9

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

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

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

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

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

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

Zachary Keeting and Christopher Joy interview painter Aubrey Levinthal at her exhibition at Nancy Margolis Gallery, New York, on view through October 14, 2017. Levinthal remarks: "I like paintings ... that when you look at first, it's inviting, it feels good to look ... but then there's something to hold you into the painting ...

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

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

Daniel Maidman observes the topic of contemporary figure painting through the work of three painters: Yedidya Hershberg, Eric Fischl, and Heather Morgan. Maidman begins: "The field [of figurative painting] is enormous and shows almost no conceptual or procedural unity. One’s only hope, in approaching the topic overall, is to build up a mosaic of specifics,

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

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

Martin Gayford interviews painter Wayne Thiebaud on the occasion of Thiebaud's recent exhibiton at White Cube, London. Thiebaud remarks: "‘I’d been working in food, washing dishes. That was my environment. I remember seeing pies laid out, processed food that I’d worked on, so I started painting these triangles and turning them into pies. I thought,

Lee Ann Norman interviews painter Jennifer Packer whose show Tenderheaded is on view at the Renaissance Society, University of Chicago through November 5, 2017. Packer comments: "I’ve been interested for a long time in how I present or protect humans in the work. It’s not figures, not bodies, but humans I am painting. I want

Richard Schiff writes on the paintings of Bridget Riley on the occasion of Bridget Riley: Cosmos on view at the Christchurch Gallery, New Zealand through November 17, 2017. Schiff observes: "Riley grants that the ‘role of art’ changes. Yet this social and historical role is merely an aspect of the art that an artist creates.

Brian Alfred visits the studio of painter Catherine Haggarty. Haggarty discusses her recent paintings which were informed by a residency in France where "there were ... reoccurring forms and bridges and arches, and the observation that came from that time." She also remarks: "I've been thinking a lot about atmosphere... a haze or a mist

Christopher Joy and Zachary Keeting visit the studio of painter Judith Linhares. Linhares remarks: "I think of myself as a populist and I love the idea of communicating with a lot of people through images... I am interested in the figures ... representing more than a portrait ... something that stands for a group."

James Hyde argues that space "isn’t a manifestation or aim of all painting, nor a timeless idea, but a historical Modernist convention." Hyde writes: "Discussions about 'painters’ use of space' may serve as a way of speaking about the general 'feel' of a picture, its atmosphere, use of perspective or presentation of overlapping planes. These

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

Charlie Fox considers the allure of "ugly painting" in advance of a mid-career retrospective of works by Laura Owens at the Whitney Museum of American Art, on view November 10, 2017 - February 4, 2018. Fox writes: "Our present moment bristles with an extra-special awfulness, which may explain not only the existence of this new