Julian Hatton’s landscape paintings demonstrate how liberating a painting genre can be when approached with inventiveness, humor, and intelligence.
The Kosuth-curated ‘Dot, Point, Period’ suggests the endless possibilities of the exhibition’s pinpoint focus — the small black dot.
Mystified as ever by the rise of Josh Smith whose work resembles the efforts of a tipsy van Gogh in an art bar, seeing this show, my inner critic is confronted with mostly disagreeable choices.
Art critic Barry Schwabsky’s new book presents a global survey of contemporary landscape painting.
Morris, who died last week, left us with this intelligent, stimulating, and typically open-ended show.
Disappearing Acts finds a balance between the harmlessly nonsensical and the strangely aggressive parts of the artist’s body of work, thus creating a more palatable Bruce Nauman.
As many artists develop visual ideas through fits of revision and reworking, the consistency in the evolution of paintings in Rackstraw Downes’s current exhibition is remarkable.
It is Mary Corse’s use of the humble paint brush that allows the viewer to become sensitive to how light is dispersed in the space they occupy.
Artists in both exhibitions were inspired by the harbor itself and how it has been a witness to immigrant narratives.
The artist’s massive aluminum sculpture “Things” commands a former bank space in Midtown Manhattan.
Essenhigh reveals a freedom that resonates with all manner of fusion: of figure and design, of abstraction and narrative, of sentiment and humor, and more generally, of ambitious painting with a readable narrative.
Juliette Dumas’s large-scale paintings of whales’ flukes manage to refresh a subject that has borne more than its share of sentimentality.