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.
In recent years, luminosity itself has emerged as Gwenn Thomas’s ultimate subject.
What does evil look like?
The argument driving this engrossing show is that Buchanan was actually a thematically ambitious and multi-faceted artist who participated in the avant-garde movements of her day, bringing to them a distinct perspective informed by her sense of identity as black and female.
Is Macdonald trying to tell us that, in some important sense, artworks are toys — that there is no significant difference between the two categories of objects?
Binary oppositions get slammed a lot in our “rhizome”-besotted era, sometimes with interesting results.
Since the early 1970s, Harry Leigh has been producing distinctive, elegant, deceptively simple wall-based sculptures, mainly of wood.
Realism is the default mode for street photography — in New York, anyway — so it is impressive when a photographer transcends the genre by embracing the attributes and effects of a different approach.
Demonstrating formal finesse, visual wit and disarmingly direct technique, the recent paintings of Olive Ayhens are a pleasure to behold.
With summer almost upon us, we note the arrival on these shores of Mary Heilmann: Good Vibrations, published last year by Walther König, Cologne, to accompany the artist’s reception of the prestigious Biennial Award for Contemporary Art (BACA) and its related exhibition.