In her “Mother Paintings,” Bradford’s observations of life in a pandemic have merged with her interior world.
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.
Hesidence masterfully balances information and aesthetic pleasure to produce a joy that should not be taken lightly.
Connors has arrived at a synthesis of what, up until now, has been a stylistically identifiable but rather diverse output.
Poet Bernadette Mayer explores the intimate connections between photographic still lifes, color, emotions, and time.
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’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.
Here’s the thing about the Make Painting Great Again exhibition at Canada Gallery: I honestly dislike it.
2015 was the Year of the Whitney.
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.
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).
LOS ANGELES — The rivalry between New York and Los Angeles runs deep: seasons vs. sunshine, pizza vs. tacos, Biggie vs. Tupac. For the art world, add to that list opening nights.