Thomas Micchelli

Post image for The Shelf Life of Political Art

Tucked into a side wall at Postmasters Gallery in Tribeca, as part of a handsome group show called Grayscale, there are five new drawings by William Powhida, one of which is titled “Is Donald Trump an Existential Threat? Or Just A Major Asshole…”

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Post image for Contemplating Perfection and Imperfection at Dia:Beacon

A visit last weekend to Dia:Beacon, the vast repository of Minimalist art on the east bank of the Hudson River, brought home once more the complexities and contradictions of a movement whose goal was to be as plain as the nose on your face.

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Post image for Painting from the Ground Up

The first paintings you see in Construction Site, the new exhibition at McKenzie Fine Art on the Lower East Side, are three slabs of red polyurethane resin with wood inlays by Noah Loesberg.

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Post image for From Flint with Love, Art of the African Diaspora

Unlike many notable private art collections that serve the public good only after they have been donated to a museum (or turned into museums of their own), the Mott-Warsh Collection was conceived to fulfill a larger social purpose.

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Agnes Martin, Irreproducible

by Thomas Micchelli on June 18, 2016

The Agnes Martin Gallery in the Harwood Museum of Art

When a cloud passes overhead, the paintings all but disappear.

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Post image for A Community Maintains Its Monument

Of all the celebrated structures in the United States, the San Francisco de Asis Mission Church in Ranchos de Taos, New Mexico, is arguably the humblest.

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Post image for The Formation of Georgia O’Keeffe

In 1916, Georgia O’Keeffe landed a job teaching art at West Texas State Normal College (now West Texas A&M) and moved to a town called Canyon.

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Post image for Myth, Flesh, and Three Paintings by Charles Garabedian

There is a small exhibition in memory of Charles Garabedian (1923 – 2016) currently at Sidecar, the adjoining annex space of Betty Cuningham Gallery on the Lower East Side.

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Post image for Adam Simon’s Deadeye Realism

As is often the case with Simon’s work, the logo paintings require a period of conceptual catch-up before they can be seen as what they are, rather than as what they seem.

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Post image for Inclusive, Eclectic, Dazzling: The Paintings of Katherine Tzu-Lan Mann

Mann begins each work with splashes of ink and water across the surface of the paper, prompting a series of painterly moves that invariably lead to extreme, layered, engulfing complexity.

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