Thomas Micchelli

Post image for One Hell at a Time: Matt Freedman’s Cancer Chronicles

To be honest, Relatively Indolent but Relentless, Matt Freedman’s artist’s book recounting his 35-day incarceration on Planet Cancer, got me at the dedication: “For Radiant Jude.”

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Post image for Monsters’ Ball: Peter Saul and the Company He Keeps

The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.

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Post image for Down in Jungleland: Laura Sharp Wilson’s Crystalline Delirium

Irresistibly baffling, Laura Sharp Wilson’s paintings ensnare us inside a post-industrial jungle of tangled cables and serpentine vines, blinding yellow days and blacker than black nights. Her crisply articulated forms thrust, loop, spiral, dangle, cluster, zigzag, and coil edge-to-edge with a singular clarity that sidesteps chaos for a state of wide-eyed delirium

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Post image for Like It Is: William Powhida at Postmasters

William Powhida has been tracking the feeding habits of the oligarchy for years, which makes it seem almost prophetic that the Supreme Court struck down overall spending limits on Federal elections during the run of Overculture, his second solo show at Postmasters Gallery.

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Post image for Probing the Unknowable: Judith Bernstein’s Black Light Paintings

Sometimes ferocity fades over time. Sometimes it doesn’t. For Judith Bernstein, it just gets bigger, brighter and wilder. Now in her seventies, Bernstein has been dishing out the unpalatable for more than forty years with no sign of letting up.

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Post image for Connecting Across Time: Piero at the Met

This is the last weekend to catch Piero della Francesca: Personal Encounters at the Metropolitan Museum of Art, a selection of four devotional pictures never before seen in the United States.

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Post image for Fresh from the Cosmic Junk Heap: The Sculpture of Peter Buggenhout

Peter Buggenhout’s massive stacks of debris hang off the wall or sprawl across the floor in a state of dereliction and collapse, monumental castoffs from a world spinning out of control.

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Post image for Everlasting Love: Susan Silas’s Intimate Photographs

By employing photographic techniques usually reserved for fashion models or luxury goods, Silas achieves an unsettling dichotomy between allure and aversion.

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Post image for Unfettered Simplicity: Susan Rothenberg’s Horses

Susan Rothenberg’s painting, “Untitled” (1974), couldn’t be more basic — brushstrokes of dusty red ochre scrubbed across a canvas; the image of a galloping horse bisected by a vertical line — but you’d be hard pressed to find a more compact expression of what painting is and what it can be.

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Post image for Impossible Beauty, Erotic and Sublime

A vision of disruptive, gritty perfection can be glimpsed at Valentine in Ridgewood, where the paintings of Patricia Satterlee and the sculptures of David Henderson and Jude Tallichet cohabit the space with bristling singularity.

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