With The Future of Ice, John Zurier manages to reduce each painting to what is essential only, yet he maintains an incredible specificity in each.
The strength of Williams’s new work lies in its transgression of aesthetic and, by extension, social and political lines, which are drawn more sharply in these fraught times.
Suzan Frecon insists that art is a wordless experience, that paintings invites us to a plane beyond understanding.
To assert one’s inner life in a time of reactionary politics is a radical act.
Bernard Piffaretti is an artist who recognizes painting as an act of inquiry and skepticism.
Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson are exploring hybrid paintings that rival sculpture in their tactility, illusion, and physical depth.
For her solo debut at Marlborough Chelsea, Shara Hughes presents eight near-dizzying kaleidoscopic paintings of landscapes and oceans.
I was born in 1983. Just shy of my 31st birthday, it occurred to me that somewhere after 1984 — virtually my entire lifetime — painting disappears almost entirely from most books on contemporary art history.