Art Review
Stephen Westfall’s Avian Abstractions
Like Charlie "Bird" Parker’s jazz improvisation, the artist's compositions are simultaneously cacophonous and rhythmic.
Alexandre Gallery
Art
WTF Is Planar Painting?
It is refreshing to see a group show that hews to its curatorial statement, and includes both old friends and unexpected twists.
Art
Emily Nelligan’s Self-Portraits of Place
In charcoal and ink, the artist tends to the land with the intimate repetition of a life-long student.
Art
Geometry in a State of Collapse
Westfall stays true to his love of planar geometry, while finding ways to undermine all traces of predictability and stability.
Art
The Disturbing Greatness of Hyman Bloom
Willem de Kooning and Jackson Pollock considered Hyman Bloom to be America’s first Abstract Expressionist, a label, it should be pointed out, that the artist himself rejected.
Art
The Difficulty of Getting the News: Lois Dodd, Sally Hazelet Drummond, and the Narrative of Exclusion
What the exhibition of Drummond and Dodd proves is that the art world was more diverse in the 1960s than has been told.
Art
Painting an Eclectic Mysticism Rooted in Modernism
Gregory Amenoff’s paintings mix influences with knowing exuberance.
Art
So Much Depends…
In 1952, Lois Dodd, along with four other artists, started the Tanager Gallery on East Fourth Street, near the Bowery, one of the first artist-run cooperative galleries in New York.
Art
Slip, Sliding Away with John Walker
What do Richard Diebenkorn and John Walker have in common? When they sink their teeth into something, they aren’t likely to let it go.
Art
Lois Dodd’s Paintings of the Ephemeral
In recent weeks, I have written about what I have defined as a grown-up painter, as opposed to what I called “the latest manifestation of a male adolescent painter, a clichéd archetype that gained traction in the Neo-Expressionist ‘80s, with the rise of Julian Schnabel, and has not been thrown over
Art
Paintings Like Sand in Your Teeth: John Walker at Seal Point
Disclosure, in John Walker’s paintings, comes slowly. A dominant motif — zigzag stripes ranging up, down and across the canvas — colonizes the surface, establishing it as a realm of aggressively brushed abstract patterns. Then one by one, various incidentals emerge — a densely wooded island, a rocky
Art
The Power of Three Small Paintings
While touring a few of the many small exhibition spaces scattered throughout the city, I was pleasantly reminded that painting requires neither heroic-sized canvases nor the prestige of whitewashed airplane hangars to succeed as significant art.