Emily Pettigrew and Aubrey Levinthal are two painters who have much in common, but their differences run deeper and are more telling.
If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
Alyse Rosner is grappling with the question of how to make an abstract painting reflect both the personal and collective.
Jason Stopa’s desire to infuse his paintings with joy mixes sophistication and innocence without privileging either one.
Just three years after he first devoted himself to art, Wong assembled an abstract vocabulary to create an entire world that is parallel to ours.
Rather than identifying with a style or brand, Klaus Kertess was remarkably independent in his choices, and was not averse to risks.
Winters’s art is about decisions, choices, quality of attention, the shaping of one’s existence in time.
There is nothing subtle about Gu’s work: it is in your face because the racism he encounters is always there.
Nearly 50 years ago, Choong Sup Lim left South Korea for New York City in search of freedom in art and life.
The legacy of Cinque Gallery demonstrates that the work of Black artists between 1969 and 2004 was as diverse as its mainstream counterpart.
Johns has repeatedly used one motif whose source has never been identified.
In Yossifor’s work, connections between the imagination and the ordinary world are made not through the pictorial, but through the paint itself.