Siegel’s sculptures recall the great screen actors whose faces projected profound and precise shifts of feeling.
The Milton Resnick and Pat Passlof Foundation has opened with a must-see exhibition of 50 years of Resnick’s work.
Overstreet keeps his references to his African-American heritage and Native American influences oblique.
Colin Brant paints a peaceable kingdom of leopards, orangutans, owls, and parrots.
In his quietly dazzling New York solo debut, Ryan Crotty pushes post-painterly abstraction past the anxiety of influence.
Dagley’s new exhibition at Spencer Brownstone is a case study in sustaining a varied, disciplined investigation of painting as structure and object-making.
In Sigal’s work, seemingly solid things fall apart, dissolve or otherwise evanesce, and fugitive forms gain substance.
Robert Marshall’s dreamlike images are fleeting, fragmentary glimpses out the window of a moving car or train.
Sharon Lawless’s visual dynamics are so vigorous you can almost hear them rattle, bang, churn and chug.
The much-anticipated second edition of Lee Friedlander’s The American Monument coincides with the opening skirmishes of an extended battle over the control of history.
Berran’s new paintings manifest an arresting, congenial gregariousness — while also showing their fangs.
Maltz sees a load of cinderblocks as a legitimate painting substrate — even after it’s broken down and mortared together as the wall of an office building.