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I have been a Sven Lukin fan since 1970, when I first saw "Untitled" (1969) in one of the concourses running under the Empire State Plaza in Albany. Made for, and located in, a long recessed area — and playfully hovering between flatness and volume, the pictorial and the sculptural — Lukin’s "Untitl
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This is what a small group of people — most of them artists living in and around New York — know. Xylor Jane is a singular figure, and her widely spaced exhibitions are regarded as events.
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Marco Breuer is best known for the photographs that he makes without using a camera. (He does other sorts of photography, but this body of work is largely what we know about his endeavors). Rather than pointing at a moment that is gone, and wresting fixity from flux, as photographs are said to do, B
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If there is one constant about Thomas Nozkowski that I would single out, it is his lifelong insistence on subverting conventions. In 1974 he began painting on canvas board measuring 16 by 20 inches. (Let’s be clear here — Bill Jensen never painted on this small a surface because it had no historical
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Dana Schutz, who is in her mid-30s, belongs to the generation of artists who grew up in an epoch where painting was routinely thought of as a dead practice. One couldn’t just be a painter, because doing so would be to enter a dusty domain crammed with empty signifiers. It would mean you were doing s
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Chuck Webster is in his early 40s. He has been showing regularly in New York for nearly a decade. This is his sixth show at ZieherSmith since 2003.
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By all accounts, Pearl Blauvelt (1893–1987) was a recluse who lived in northeastern Pennsylvania in a house without running water, plumbing or central heating. Her neighbors referred to her as the “Village Witch.” In the mid 1950s, she was declared incompetent and moved to a facility where she resid
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Let us start with two addresses just a few blocks from each other in San Francisco, and what was happening there in the early and mid-1950s. On Halloween, 1954, the Six Gallery opened at 3119 Fillmore Street in San Francisco. The six founders were Wally Hedrick, Deborah Remington, Hayward King, Davi
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Artist Gary Stephan, whose new drawings will be exhibited this fall at Devening Projects + Editions in Chicago, is doing the best work of his life.
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Before focusing on Kathy Bradford’s exhibition of new paintings at the Edward Thorp Gallery, I want to mention Eric Fischl’s recent paintings and the second coming of the Titanic, both oddly relevant for their irrelevance.
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The rigorous parameters that Sylvia Plimack Mangold established in her earlier bodies of work (the floor paintings and the landscapes framed by “tape”) continue to inform her paintings of individual trees (specifically the maple, elm, locust, and pink oak), which have been focus of her attention sin
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Stanley Whitney is in his mid-sixties. By his own account, he struggled in the studio from the early 70s to the late 80s, “just trying to make work.” The issue was to make something that was his, rather than to make something that was the right or approved of thing to do. Although it is seldom discu