Crossing the bridge to the free-form empiricism of the Impressionists, this show delights in the visual spectacle of life.
John Goodrich paints, teaches, and writes about art in the New York City area. Formerly a contributing writer for The New York Sun and Review magazine, he currently writes for artcritical and CityArts.
A Little-Known but Beloved Artist’s Quietly Powerful Still Lifes
Ruth Miller tells us worlds about what it means to see.
Hauntingly Anonymous Portraits by Victor Pesce
An exhibition presents a less familiar side of the artist, primarily known for his late austere still lifes from the 1990s.
The Hushed Brilliance of James Castle’s Mysterious Drawings
An exhibition at the New York Studio School gathers about 50 of Castle’s strangely poetic drawings and cardboard constructions.
Figures Formed from the Primal Energies of Paint
Janice Nowinski’s paintings, currently on view at John Davis Gallery in Hudson, possess a kind of brute grace.
Painting an Eclectic Mysticism Rooted in Modernism
Gregory Amenoff’s paintings mix influences with knowing exuberance.
The Majesty of a Restored and Reunited Early Renaissance Triptych
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.
The Dynamic Distortions of a Formal Painter
Mernet Larsen claims an unlikely pair of influences: 15th-century Italian painting and the austere abstractions of the Russian modernist El Lissitzky (1890–1941).
The Formal Challenges of Figurative Painting
Making sense of an overarching theme like “figuration” would seem a daunting task.
Formal and Furious Landscapes
HUDSON, NY — All 12 of Ying Li’s furiously brushed, vibrantly hued landscapes look to have been produced by a cathartic burst of energy.
The Existential Experience of a Chardin Still Life
Does drawing define, and color merely decorate? Or is drawing just the menu, and color the meal?
Paintings with Pizzazz, and a Rhythmic Edge
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.