Art
Halsey Hathaway’s Impure Abstractions
No matter how optical a color may become, our experience of it is — to state the obvious — visceral.
John Yau
John Yau is an award winning poet, critic, curator, and publisher of Black Square Editions. He has published over 50 books of poetry, fiction, and art criticism.
Art
Dona Nelson Stands Alone
The dizzying effect of Nelson’s two-sided paintings brings to mind the sensory overload of living in a city.
Art
Lured by Two Contemporary Masters
Long after I left Robert Grosvenor and David Novros at Paula Cooper, certain works floated up in my memory, calling me to return.
Art
Mario Schifano’s Greatness
To say the exhibition "Facing America: Mario Schifano 1960–65" is an eye opener hardly does it justice.
Art
Vicky Colombet’s Vision of Endless Change
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.
Art
Garth Weiser Explores the Limits of Technical Wizardry
Moving beyond the confines of abstract signs, Weiser seems to be seeking social and philosophical meaning.
Art
An Asian American Landscape Artist to Be Reckoned With
Kim Van Do takes the full range of our vision, from left to right and sky to ground, to an extreme.
Art
Angela Dufresne Tells a Different Story
I cannot think of another narrative painter as expansive, surprising, funny, unsettling, tender, wacky, challenging, theatrical, and radically imaginative as Angela Dufresne.
Art
Angel Otero’s Paintings of Absence
Otero’s images of water and disaster mirror the wreckage of Hurricane Maria as well as the devastation of COVID-19.
Art
Alix Bailey’s Unfashionable Pursuit
Painting, as a verb, is a way of living in time, of inhabiting a state of solitude, even when you are with other people.
Art
Stephen Pusey’s Remarkable Calligraphic Abstractions
Pusey’s cursive marks sit in that zone where writing becomes drawing and vice versa.
Art
John Mendelsohn’s Paintings of Radiating and Falling Light
The change in hue and density from painting to painting struck me as simultaneously methodical and intuitive.