Galleries

GalleriesWeekend

A Different History

by John Yau on September 18, 2016

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The title of the painting I had been looking at, “Adam and Eve and the Goats” (2016), surprised me. I had thought it was retelling of a classical myth, a subject that Kyle Staver has explored with verve and humor before.

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GalleriesWeekend

A Heap of Broken Bodies

by John Yau on September 18, 2016

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I want to start my review of Endymion: Recent Paintings by Clintel Steed at Steven Harvey Fine Art Projects/SHFAP with a statement the artist made to Jennifer Samet in an interview that appeared on her blog, “Beer with a Painter.”

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GalleriesWeekend

Sending Collage Down a Rabbit Hole

by Thomas Micchelli on September 17, 2016

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If you’re looking for clues to the dizzying imagery of Tim Spelios’s collages, you’re not going to get very far.

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Galleries

Excavating the Layers Under the Landscape

by Alexis Clements on September 16, 2016

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ARLINGTON, Va. — The landscape paintings that taught me most about the form as a young person were the works of Albert Bierstadt and Bob Ross.

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Post image for Artists Consider Race in Response to the American Revolution

The curatorial scheme of the Race and Revolution exhibition at Nolan Park on Governors Island is bold and seditious.

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Post image for Theaster Gates Contemplates What Creates and Destroys Communities

MILAN — Following the major economic crises in Europe and the US, political art has become increasingly visible in those parts of the world. At the same time, it’s become increasingly difficult to ignore questions about the art’s actual effectiveness.

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Galleries

Artists Crank Up the Transcendent Power of Music

by Seph Rodney on September 13, 2016

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What is a DJ? Maybe you can get to an answer by understanding where the DJ is — that pivot point, that hub around which we as dancers oscillate, in the orbit of the music the DJ arranges and organizes.

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GalleriesWeekend

A Singular Enterprise

by John Yau on September 11, 2016

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I have been doing my best to follow Marilyn Lerner ever since I reviewed her exhibition at John Good for Artforum (May 1989).

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Post image for In New Paintings, Elisabeth Condon Pours on Color and Unexpected Forms

It isn’t easy to make a good abstract painting.

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GalleriesWeekend

A Struggle for Balance

by Thomas Micchelli on September 10, 2016

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The muscular abstractions of Ivo Ringe may appear to have little in common with the calibrated colored squares of Josef Albers or the mysticism of Joseph Beuys — or, for that matter, the science of classical proportions, the cellular patterns of plants, or the molecular growth of crystals — but such disparate concerns constitute the connective tissue that makes them what they are.

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