Thomas Micchelli

Anri Sala,

The lingering trauma of repression and the heady, disconcerting repercussions of freedom are tendrils that wend their way throughout Sala’s refined, giddy, somber body of work.

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Fred Valentine,

It’s an unsentimental portrait, to say the least.

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Post image for Discourse, Dazzle, and Snap: Jonathan Lasker’s New Paintings

Jonathan Lasker’s approach to painting hasn’t changed materially in decades, and so why would his work, which struck me as an alienating (if not irritating) closed system when I first started looking at it in the 1990s, now feel so open, urgent, and fresh?

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Post image for Graffiti 2.0: Jeff Schwarz’s Ceramic Abstractions

To be clear, Jeff Schwarz doesn’t use paint on his ceramic paintings. The marks, swipes, smears and sprays across his surprisingly versatile surfaces are created entirely with glaze, slip and clay.

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Post image for History Repeating Itself: Tragedy, Farce, and Judith Bernstein

With her remarkable new exhibition at Mary Boone — her second at the gallery in eight months — Judith Bernstein resurrects the imagery of her Vietnam-era works in a savage takedown of contemporary American politics and its testosterone-fueled will to power.

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Post image for Not Necessarily Pleasant: The Paintings of Juanita McNeely

One of the more ferociously beautiful shows you’re likely to see this season is by a 79-year-old painter who was barely out of high school when she was given six months to live.

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Post image for Broken Utopia: Abstract Painting in Italy

Nobody believes in the simple narrative arc of Modern Art anymore; even so, Painting in Italy 1910s–1950s: Futurism, Abstraction, Concrete Art at Sperone Westwater is an instructive glimpse into the fullness and complexity lying beneath thumbnail histories of the avant-garde.

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The Pursuit of Art, 2015

by Thomas Micchelli on December 26, 2015

Post image for The Pursuit of Art, 2015

2015 was the Year of the Whitney.

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Post image for Built-In Fracture: Donald Baechler in the 1980s

In the thoroughly absorbing exhibition Donald Baechler: Early Work 1980 to 1984 at Cheim & Read, there are two works, both from 1982, in which the artist appears to be unlearning how to draw.

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Post image for Seeking the Real at Art Basel Miami Beach

So where were they? An Inside Art column published in The New York Times a week before the opening of Art Basel Miami Beach dangled the prospect of a more inclusive fair this year, one that would feature “A Focus on Female Artists,” as the headline put it.

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