Katchadourian excels at investing commonplace, inanimate objects with vitality and soulfulness.
Ward doesn’t just utilize found objects; he communicates with them — intellectually, visually, soulfully.
For Hafif, painting was a meditative act, a clarifying ritual.
Simone Leigh’s chief subject is, in her own terms, “black female subjectivity,” hardly a predominant theme in an art world that has skewed way white and male since its inception.
Kusama’s installation connects with a broad reach of Rockaway’s history, as well as the impact of climate change on the area.
Strapped into a harness beneath Saraceno’s inflated sculpture, we are carried aloft, peaceful and ecstatic, merging with the air.
Karin Sander’s Kitchen Pieces draw your attention to the rhythmic ridges of an acorn squash, the bumpy peel of an orange, and the spiky surface of a yellow dragon fruit.
Moyer’s new paintings revel in color and visual pleasure, scrambling distinctions between abstraction and representation.
I remember David Zwirner Gallery back in the 1990s, before Chelsea, when the New York art world was much smaller and more manageable.
In Ellen Harvey’s Nostalgia, the spiritual and the secular converge into a beatific, nature-based sublime.
Diana Al-Hadid is a cherished former student who is moving beyond talent into something much deeper and riskier, what Emerson called “the science of the real.”
Tom Burckhardt’s “STUDIO FLOOD” is a tour de force artwork with a willfully scruffy, DIY look.