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.
Medrie MacPhee’s newest paintings are made from the shapes and contours of disassembled garments, giving “pattern painting” an entirely new meaning.
In a series of drawings derived from frames of the Zapruder film, Durbin tracks the shifting spatial orientation of Jackie Kennedy’s pink pillbox hat — and by implication, Mrs. Kennedy’s bodily response to the unfolding horror.
Beginning around 2012, Ruggeri’s work underwent a shift, then an overhaul, then something like a transformation.
Though he wears his scholarship lightly, Carl D’Alvia is adept at the semaphores of 20th-century sculpture.
Sometimes a single, simple pictorial device is all it takes to set your work apart.
Shari Mendelson’s artifacts emerge from her subconscious as much as from her enthusiasm for her subject matter. In turn, they appeal to something preconscious in the viewer.
Katharina Wulff grew up in East Berlin and moved to Marrakesh some fifteen years ago. Her work reflects her situation amid the elaborate, distinctly Islamic decoration that adorns traditional architecture in Morocco.
Leah Tacha doesn’t poach styles or genres for their own sake. She has found a personal through-line in her enthusiasms that allows her to both plumb her moment and link to our collective past.
In a savvy move, Daniel Boccato has latched onto a currently popular color-and-shape-based aesthetic and taken it to a material extreme.
Marilyn Gold is a painter; Robert Guillot makes sculpture and drawings. Both have been working in New York for decades. As their studio output indicates, they have profoundly different interests and divergent means of exploring them.