Howard Hurst

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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Post image for Katherine Bernhardt’s Junk-Food Moshpit

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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Museums

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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Post image for Staying in Love on the Lower East Side

Making boldface generalities is of course a recipe for disaster, but for many artists the long hours and repetitive demands of making something by hand is part of the parcel.

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Galleries

Peter Doig’s Restless City

by Howard Hurst on November 28, 2013

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I have always thought it unfair that Peter Doig is chiefly known for the headlines associated with the sale of his “White Canoe” painting by Charles Saatchi at auction in 2007 for £5.7 million ($9.31M). This made him Europe’s most expensive living painter and the acknowledgement was accompanied by all the market-related press and interest that such titles generate.

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Galleries

Painting as Punchline

by Howard Hurst on November 19, 2013

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Scott Reeder is something of an enigma. His newest exhibition at Lisa Cooley Gallery, People Call Me Scott, is too. The work on view appears disjointed at first glance, which is relatively typical of the artist, who’s currently putting the finishing touches on his first feature-length film, Moon Dust, set to come out next year.

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Museums

The Taming of Christopher Wool

by Howard Hurst on November 6, 2013

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Christopher Wool is having a moment. Arguably his most famous painting, “Apocalypse Now,” will be offered on the auction block on November 12 as part of Christie’s postwar and contemporary art evening sale, with an estimate of $15–20 million. His retrospective at the Guggenheim, organized by associate curator Katherine Brinson, opened late last month to much fanfare.

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Galleries

Mr. Internet Paints a Picture

by Howard Hurst on October 29, 2013

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It is probably appropriate that the first time I heard of Josh Abelow was through his website, Artblog Artblog. It is more of a stream of consciousness image and info dump than a proper “blog” — there isn’t much writing to speak of.

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Galleries

The New Old Logic of Abstraction

by Howard Hurst on October 23, 2013

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The great thing about the outgrowth of exhibitions showcasing and examining emerging contemporary abstract painting is that the novelty is starting to wear off.

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