Howard Hurst

Post image for The Coy Politics of Cheryl Donegan’s Recycled Imagery

It made immediate sense to me that an artist who had cut her teeth making video works was able to transpose their sense of social commentary onto her formal works.

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Who Has the Cure for “Zombie Formalism”?

by Howard Hurst on December 17, 2014

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Since the artist and critic Walter Robinson wrote his now-(in)famous post “Flipping and the Rise of Zombie Formalism” in Artspace this past April, there has been an outpouring of writers, bloggers, and Facebook comment jockeys who have opined on the subject.

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Post image for Fortuitous Paintings, Between Plan and Action

Among the crop of painting shows that opened this season in New York, Amy Feldman’s High Signs is particularly notable for its visual impact and irreverent sense of humor.

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Ken Price’s Luminous Bulges

by Howard Hurst on June 24, 2014

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What these forms do first and foremost is force us to look. They encourage us to question what the eye is given to believe at first glance, and to carefully consider every surface from a variety of angles.

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Post image for Gutsy Artists: Outpost’s Heart Gymnastics

For those determined to see art in Bushwick off the beaten path, Outpost should be a staple. What’s so lovely about this space is that it seems centered around community and dialogue. The current exhibition, Hearts Gymnastics, curated by Yevgeniya Baras, is no exception.

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Still Life Mayhem

by Howard Hurst on May 6, 2014

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These days you can’t walk out of the house without tripping over an abstract painting.

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Post image for Pat Steir and the Properties of Paint

Pat Steir cut her teeth in the 1970s and went on to become part of the fabric of the New York art world. From her quasi-conceptual paintings of that decade to the Waterfall paintings of the late ’80s, Steir has long been something of a ubiquitous presence — but, like many of her generation, she also hasn’t received the due she deserves.

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Katherine Bernhardt’s Junk-Food Moshpit

by Howard Hurst on February 27, 2014

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Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture.

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Post image for A Gallery Night for People Who Hate Openings

For those of us who want to connect with an artistic community but resist openings with curmudgeonly fervor, there is hope: Greenpoint Gallery Night.

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Reconsidering the Big Picture

by Howard Hurst on February 12, 2014

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I walked into the exhibition space at the New York Academy of Art recently and was blown away. The current exhibition The Big Picture presents a surprising and considered look at an alternate kind of large-scale painting. Five figurative artists involved with the institution in some way present monumental canvases based at least partly on the human figure.

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