To say the exhibition “Facing America: Mario Schifano 1960–65” is an eye opener hardly does it justice.
By titling her exhibition “From the Floating World,” Colombet connects with the Japanese belief that one must live in the moment, yet remain detached from material needs and desires.
Moving beyond the confines of abstract signs, Weiser seems to be seeking social and philosophical meaning.
Kim Van Do takes the full range of our vision, from left to right and sky to ground, to an extreme.
I cannot think of another narrative painter as expansive, surprising, funny, unsettling, tender, wacky, challenging, theatrical, and radically imaginative as Angela Dufresne.
Otero’s images of water and disaster mirror the wreckage of Hurricane Maria as well as the devastation of COVID-19.
Painting, as a verb, is a way of living in time, of inhabiting a state of solitude, even when you are with other people.
Pusey’s cursive marks sit in that zone where writing becomes drawing and vice versa.
The change in hue and density from painting to painting struck me as simultaneously methodical and intuitive.
In her dozens of pastels on handmade paper, Mie Yim seems to start each one over, never attempting to make a variation on a theme.
Sultan’s works implicitly reject the corporate scale of the Minimalists in favor of a domestic and intimate space
To focus on Puryear’s devotion to craft and the handmade is valid, but now seems too narrow a view.