Thomas Micchelli

Post image for Confounding the Eye: “Breaking Pattern” at Minus Space

Optical painting has been making its presence felt lately, with its 21st-century manifestation swapping the psychedelia and illusionism of its Sixties progenitor, Op Art, for an emphasis on process, systems and formal interrogation.

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Post image for Taking the Minimal Out of Minimalism: Robin Peck’s Abstract Skulls

There are nine lumps of plaster and Hydrocal — covered in yellowing shellac and polished wax — on display at CANADA on the Lower East Side, their domed tops roughly the size and shape of a human skull (hence the title of the exhibition, Crania).

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Edith Schloss,

A new exhibition at the Sundaram Tagore Gallery focuses on the life and art of Edith Schloss, the consummate insider/outsider of the New York School.

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Quickly Aging Here: The 2015 Triennial

by Thomas Micchelli on February 28, 2015

Post image for Quickly Aging Here: The 2015 Triennial

After six years and three installments, is the New Museum’s Triennial entering middle age? An odd question for an exhibition devoted to “early-career artists,” as the museum’s press release describes them.

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Post image for Dark Matter: Jason Karolak’s Wayward Abstractions

There are times in a painter’s development when progress is slow and incremental, and there are times when everything just pops. In Polyrhythm, Jason Karolak’s luminous solo show of abstract paintings at McKenzie Fine Art, everything just pops.

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'Patrick Killoran: Exeunt Angels', detail of installation view

Broadly embracing the Minimal, the Conceptual, and the Relational, Patrick Killoran’s solo exhibition at Studio 10 zeroes in on the unlikeliest of subjects — contract law — with an off-kilter braininess that turns each piece into a game of mental catch-up.

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The Pursuit of Art, 2014

by Thomas Micchelli on December 27, 2014

Post image for The Pursuit of Art, 2014

The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.

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Installation view of

The Forever Now: Contemporary Painting in an Atemporal World, the new exhibition at the Museum of Modern Art, prompted thoughts of Elizabeth Kübler-Ross’s five stages of grief: denial, anger, bargaining, depression and acceptance, though I’m not sure how much acceptance there is in the end.

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Alberto Giacometti,

“What I am looking for is not happiness. I work solely because it is impossible for me to do anything else.” That’s how Alberto Giacometti summed it up, as told by James Lord in Giacometti: A Biography, published in 1997.

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Sam Lewitt,

Sam Lewitt is a young artist in a hurry. He was barely out of his twenties when he scored the 2012 Whitney Biennial, and right now he is filling both outlets of the Miguel Abreu Gallery — the modest space on Orchard Street and the immodest one on Eldridge.

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