Crossing the bridge to the free-form empiricism of the Impressionists, this show delights in the visual spectacle of life.
Ruth Miller tells us worlds about what it means to see.
An exhibition presents a less familiar side of the artist, primarily known for his late austere still lifes from the 1990s.
An exhibition at the New York Studio School gathers about 50 of Castle’s strangely poetic drawings and cardboard constructions.
Janice Nowinski’s paintings, currently on view at John Davis Gallery in Hudson, possess a kind of brute grace.
Gregory Amenoff’s paintings mix influences with knowing exuberance.
Until March 20, visitors to the New-York Historical Society can absorb a unique example of Gaddi’s work: a small but exquisite panel from c. 1330–34 depicting the Maestà.
Mernet Larsen claims an unlikely pair of influences: 15th-century Italian painting and the austere abstractions of the Russian modernist El Lissitzky (1890–1941).
Making sense of an overarching theme like “figuration” would seem a daunting task.
HUDSON, NY — All 12 of Ying Li’s furiously brushed, vibrantly hued landscapes look to have been produced by a cathartic burst of energy.
Does drawing define, and color merely decorate? Or is drawing just the menu, and color the meal?
If painting were merely a style — just an evocative pose channeling the gestalt of a time and place — then Don Voisine’s spare, elegant abstractions might be the equivalent of Leonardo DiCaprio in a tuxedo.