Weekend


Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio

Post image for Late Bloomer: Philip Hanson’s Recent Paintings

Initially I was skeptical, but Philip Hanson’s three paintings on the fourth floor of the Whitney Biennial got me to look and think again. The twelve paintings in his exhibition, I am a child of the Light, student of the Dark, at Corbett vs. Dempsey (March 21–April 19, 2014) convinced me.

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Post image for Gene Mann: Mapping Psychic Territory in Shadows and Light

Animated, impulsive and a little bit absent-minded, the French-born, Swiss artist Gene Mann packs an intense mix of curiosity, technical experimentation, and joie de vivre into every square inch of her artwork.

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Post image for In Conversation: Molly Zuckerman-Hartung

Molly Zuckerman-Hartung is a Chicago-based painter, teacher, and author of “The 95 Theses on Painting.” Her work reflects a deep engagement with process, material, and with painting’s long history. Her abstract paintings often extend above the surface and outside the frame, via pooled enamel, collaged images, or sewn fabric, as in her painting “Notley”, currently on display in the Whitney Biennial.

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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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ReactorWeekend

Required Reading

by Hrag Vartanian on April 6, 2014

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This week, the Bechdel test’s impact on movie revenue, the 17-year-old who slept with Ginsburg and Burroughs, Sotheby’s redesign, internet as propaganda tool, LACMA and Tinder, and more.

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ReactorWeekend

Weekend Words: Limit

by Weekend Editors on April 6, 2014

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What does the art market have in common with Major League Baseball and the Supreme Court? Spending limits are for suckers.

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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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