Clare Grill is a painter based in Queens. She has shown consistently, if not quietly, over the last few years.
Joyce Pensato is best known for her stark, large-scale paintings of cartoon characters and in particular for her series of Batman paintings that depict the cape crusader’s iconic mask using splashy skeins of black and white paint.
It made immediate sense to me that an artist who had cut her teeth making video works was able to transpose their sense of social commentary onto her formal works.
Since the artist and critic Walter Robinson wrote his now-(in)famous post “Flipping and the Rise of Zombie Formalism” in Artspace this past April, there has been an outpouring of writers, bloggers, and Facebook comment jockeys who have opined on the subject.
Among the crop of painting shows that opened this season in New York, Amy Feldman’s High Signs is particularly notable for its visual impact and irreverent sense of humor.
What these forms do first and foremost is force us to look. They encourage us to question what the eye is given to believe at first glance, and to carefully consider every surface from a variety of angles.
For those determined to see art in Bushwick off the beaten path, Outpost should be a staple. What’s so lovely about this space is that it seems centered around community and dialogue. The current exhibition, Hearts Gymnastics, curated by Yevgeniya Baras, is no exception.
These days you can’t walk out of the house without tripping over an abstract painting.
Pat Steir cut her teeth in the 1970s and went on to become part of the fabric of the New York art world. From her quasi-conceptual paintings of that decade to the Waterfall paintings of the late ’80s, Steir has long been something of a ubiquitous presence — but, like many of her generation, she also hasn’t received the due she deserves.
Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture.
For those of us who want to connect with an artistic community but resist openings with curmudgeonly fervor, there is hope: Greenpoint Gallery Night.
I walked into the exhibition space at the New York Academy of Art recently and was blown away. The current exhibition The Big Picture presents a surprising and considered look at an alternate kind of large-scale painting. Five figurative artists involved with the institution in some way present monumental canvases based at least partly on the human figure.