The rules that structure Jane’s paintings take her to some place strange and fascinating, beautiful and perplexing, mind-boggling and riveting.
Katherine Bradford’s Joy and Grief
In her “Mother Paintings,” Bradford’s observations of life in a pandemic have merged with her interior world.
Rachel Eulena Williams’s Threads of Abstraction
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.
Daniel Hesidence’s Views of an Imaginary Landscape
Hesidence masterfully balances information and aesthetic pleasure to produce a joy that should not be taken lightly.
You Are in Good Hands with Matt Connors
Connors has arrived at a synthesis of what, up until now, has been a stylistically identifiable but rather diverse output.
Life Time: Bernadette Mayer’s Memory
Poet Bernadette Mayer explores the intimate connections between photographic still lifes, color, emotions, and time.
With a Wall of Photos, Bernadette Mayer Evokes a Landscape of Memories
Bernadette Mayer’s installation of a wall of images from 1971 is far too evocative of my own history for me to step back and see it “objectively.”
Elizabeth Murray, Force of Nature
Elizabeth Murray’s work on paper is utterly free-form, a launchpad for a gamut of choices that rush from points A to Z with head-snapping speed.
Trying (and Failing) to Make Painting Great Again
Here’s the thing about the Make Painting Great Again exhibition at Canada Gallery: I honestly dislike it.
The Pursuit of Art, 2015
2015 was the Year of the Whitney.
The Eerie Abandoned Dreams of Samara Golden
The current exhibition at Canada Gallery, A Fall of Corners by Samara Golden, leads the viewer up to the threshold and almost across into an enticing, dreamlike, and slightly askew dimension.
Taking the Minimal Out of Minimalism: Robin Peck’s Abstract Skulls
There are nine lumps of plaster and Hydrocal — covered in yellowing shellac and polished wax — on display at CANADA on the Lower East Side, their domed tops roughly the size and shape of a human skull (hence the title of the exhibition, Crania).