The strength of Williams’s new work lies in its transgression of aesthetic and, by extension, social and political lines, which are drawn more sharply in these fraught times.
Howard Hodgkin: Memories — the first show of any importance since the artist’s death — seems to open him up as never before.
Writing a global art history demands that we give up historical thinking.
Suzan Frecon insists that art is a wordless experience, that paintings invites us to a plane beyond understanding.
Given his red-dominated palette, I don’t think it is implausible to suggest that one of Frank Holliday’s subjects is conflagration — a world consumed by fire.
Isensee has gone from being a dutiful geometric abstractionist to defining his own trajectory, and gaining a verifiable freedom for himself.
David Reed has figured out how to bring illusionism back into an abstract painting while remaining committed to paint-as-paint.
With ATOMIC, her new body of work, Patricia Satterlee pitches us into abstract apparitions of heaven and hell before pulling us back to earth.
These are the paintings of a modern master for whom dissipation and loss of control have become integrated into the work.
Darkening, an exhibition of Lorna Simpson’s glacial paintings, submerges us in an icy desert largely devoid of language and far from human habitation.
The survey of the late Swedish abstract painter has drawn 600,000 visitors, increased museum memberships, and broke another record in catalogue sales.
Leslie Wayne’s richly layered paintings remind us of the playfulness and emotional range to be found in abstraction.