Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
For years, Fueki has been quietly creating a singular body of mind-bending work that has never fit into the New York art world.
This desire to go beyond the ordinary without forgetting its existence seems to be one motivation that Jane Freilicher and Thomas Nozkowski shared.
John Yau and Albert Mobilio select a few choice titles from the past year.
Between 1962 and ’75, Willenbecher made a substantial body of work reflecting his interest in games and the night sky, in the ancient human desire to make order out of the inexplicable.
What I see as his late period reveals an artist who knows that change is inevitable, that mortality is hurrying closer, and that art is not a bulwark against time.
Naito’s Op-inspired abstractions might have been an oblique way of dealing with feelings of displacement after moving to the United States.
Schulte seems at once focused and restless, determined and open.
It is one thing to be a visionary and another to be one whose work holds your attention for a sustained period of time.
The art world has paid attention to other artists from the same era, but we have not done the same with Sonia Gechtoff, and it is time that we did.
There is nothing extraordinary about Murphy’s subjects and yet there is something inexplicably disturbing about her paintings and drawings.