Art
Don Voisine’s oil paintings on wood brim with all kinds of tensions: between flatness and spatiality; stasis and torque; containment and expansion; light and dark; tonal gradations and sharp contrasts; matte and glossy surfaces; transparency and solidity. Once you begin noticing the variety of stres
Books
Before we settle into our plush, faux-velvet seats, share bags of popcorn and watch the latest film about zombies who managed to escape from Pittsburgh and its parking lots, does anyone out there dream of making a movie about Jeffrey Dahmer starring Brad Pitt or James Franco?
Art
Color is frightening. From the color of one’s skin to the color of a painting, it can stir up unlikely obsessions: all kinds of irrational responses tend to explode without provocation. Barnett Newman and Mark Rothko have two things in common: wide expanses of color and the proclivity for people to
Art
Stylistically innovative painters outnumber those who have reassessed the accepted conventions of painting. For the most part, artists engaged with issues of style accept certain conventions, particularly regarding spatiality, while those who reevaluate painting find ways to undo assumptions and rec
Art
Joe Zucker is the most inventive artist of his generation, which includes Elizabeth Murray, Mel Bochner, Joan Snyder and his longtime friend, Chuck Close, and perhaps the most misunderstood. One reason for the confusion is that reviewers have often focused on Zucker’s inventiveness with materials an
Art
For many, Sanford Wurmfeld: Color Visions 1966 – 2013 at the Hunter College/Times Square Gallery (February 15–April 30, 2013) will be an introduction to an artist, who, according to the art historian William C. Agee, “may well be the best little-known painter in New York today.” There are many reaso
Art
The changes that Joshua Marsh has made since his debut show at Jeff Bailey in 2010 — which I reviewed for the Brooklyn Rail (October 2010) — should be mentioned. In As If, his second exhibition at the same gallery, he shows drawings for the first time — thirty works on clay-coated paper measuring 5
Art
This is Catherine Murphy’s first exhibition with Peter Freeman — and the inaugural show of gallery’s large, new space (March 14–April 27, 2013). Although Murphy has been showing regularly in New York since the early '70s, this is the first time that she has had a space big enough to comfortably disp
Art
There is still a story to be told about Philip Guston (1913–1980) and Jackson Pollock (1912–1956), who met at Manual Arts High School in Los Angeles in 1929, and were expelled the following year for handing out a broadside that ridiculed the English faculty for their conservatism. Pollock was later
Art
Years ago, Al Held invited me to his place in Boiceville, New York, to see two large paintings that he had all but completed. They were immense, brightly colored works in which geometric forms floated, weightless.
Art
By 1974, Thomas Nozkowski had made two decisions – he would paint on widely available, 16 x 20-inch, prepared canvas boards, and everything he painted would come from personal experience.
Art
Peter Williams — who is sixty and black — is having his first solo exhibition of paintings in New York. And not one to ever play it safe, he is exhibiting two distinct bodies of work at Foxy Production (February 15, 2013–March 23, 2013) — three smallish abstract paintings and five large figurative o