Juliette Dumas’s large-scale paintings of whales’ flukes manage to refresh a subject that has borne more than its share of sentimentality.
Greg Lindquist’s landscape paintings, rendered in a range of queasy-making yellows and greens, address air and water pollution from coal-powered plant emissions.
(RE)APPROPRIATIONS at Tibor de Nagy exhibits Rivers’s passion for and innate ability to paint figures convincingly, rendering them with sensitivity and expressiveness.
Dionisio González’s exhibition at Galerie Richard, while visually appealing, is beset with discordant sensibilities.
Satoshi Kojima’s paintings don’t examine human relationships — they fondle them like a bear fondles picnic food.
Irving Penn’s retrospective exhibition at the Metropolitan Museum of Art traces his career in fashion and portrait photography from 1943 to 2008.
Erlich does not challenge the public to find meaning in his work but entices them with imagery that leaves them receptive to multiple perspectives.
Bill Murphy has for decades been the unofficial recorder of Staten Island’s changing landscape — a role for which his talents and vision are uniquely suited.
In a new work by the artist, what stands out is an inescapable contrast between the older and younger Nauman.
Tucked into the corner of Marlborough Chelsea’s huge space sits Viewing Room, an exhibition of Stephen Kaltenbach’s work that expresses, in a variety of media, a very personal sort of art world pique.
Van Dyck: The Anatomy of Portraiture, currently at the Frick Collection, provides a window onto how the premier Baroque portrait style came together in the busy studio of a gifted, if short-lived, painter.
Currently on view in the project room at ART 3 in Bushwick are a half-dozen canvases by Deborah Brown, consisting of figures, some based literally, others emblematically, on the portrait styles of various historical periods.