Galleries

Post image for An Abstract Painter’s Mixed-In Tensions

Any painter who doesn’t find painting difficult should be treated with suspicion. Managing real challenges, as opposed to affected ones, should be the root of an artist’s style, by choice or by consequence. The work of Logan Grider has always struck me as bound up in tensions that are either invited or just endured.

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Post image for Joanne Greenbaum’s Beautiful Monsters

Joanne Greenbaum is hellbent on making each painting different from the ones preceding it. This was immediately evident when I walked into her first exhibition with Rachel Uffner Gallery, where she is inaugurating the gallery’s new large space with eight large paintings, all 90 x 80 inches.

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Post image for Broadcast Muse: Liz Magic Laser’s Bystander

The script for “Bystander,” Liz Magic Laser’s performance at The Kitchen, consists principally of two types of statements about current events — the personal and the reportorial.

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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 The Naked, Aging Body in Performance

The piece began with two naked artists covered in photographs of the female body, behind which hid coils of fishing line pierced into the skin. This was “Balancing on the Edge/Age,” a work addressing societal views of menopause and old age by Mexican artist Rocio Boliver, also known as La Congeleda de Uva, with Spanish artist Begoña Grande.

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Post image for Gary Stephan Talks to Rene Magritte and Kazimir Malevich

On the face of it, Gary Stephan’s paintings seem straightforward and austere. Done in acrylic, their viscosities of paint, range from striated, semi-transparent brushstrokes laid down with the same consistency as they span the canvas, to watery, semi-transparent irregular shapes, to solid geometric planes of color – virtuosity in plain sight.

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Post image for Andreas Slominski’s Wonderfully Ugly Handbags

Andreas Slominski’s exhibition at Metro Pictures, which closes today, is the perfect riposte to those enthralled with the expensive baubles of Jeff Koons, or with designer fashions, reality TV, and the gaseous personalities populating these self-inflated, narcissistic times.

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Post image for A Teacher’s Guide to the Last Brucennial

The Bruce High Quality Foundation’s Brucennial has excited and divided the art world for the past 10 years. On the occasion of the fifth and final Brucennial, and inspired by the open classrooms of the Bruce High Quality Foundation University, we offer you a teacher-student discussion guide to the exhibition.

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Post image for Laboring Over Walead Beshty’s Bodies

LOS ANGELES — Walead Beshty’s solo exhibition at Regen Projects, Selected Bodies of Work, claims to “address bodies and labor as they are rendered visible in or on the art object.” Where and what are these bodies and labor?

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