Serge Poliakoff: Gouaches 1938-1969 furthers the case for Poliakoff’s importance and continuing relevance to abstract painting.
Just three years after he first devoted himself to art, Wong assembled an abstract vocabulary to create an entire world that is parallel to ours.
The patron saint of provocation is back with Early Work 1967-79, her first major New York show since 2011.
In responding to Judd and Greenberg, it is apparent that Gorchov wanted to find his own way past what he saw as the limits of their theorizing and make something that was recognizably his.
Tal R talks about “watching” paintings — not just looking at them. It might be a language tic, but it also feels specific.
It’s an oh-so-good premise for an exhibition: exploring the female gaze.
The Irish-born, London-educated, abstract painter Sean Scully established a signature style of painting nearly four decades ago.
Deep inside every great painting is the question of what it means to paint.
In 1967, the angel of ambiguity rescued Al Held from the burly heaviness of his body and the formalist ideology of his thinking.
Jonathan Lasker’s approach to painting hasn’t changed materially in decades, and so why would his work, which struck me as an alienating (if not irritating) closed system when I first started looking at it in the 1990s, now feel so open, urgent, and fresh?
2015 was the Year of the Whitney.
In the thoroughly absorbing exhibition Donald Baechler: Early Work 1980 to 1984 at Cheim & Read, there are two works, both from 1982, in which the artist appears to be unlearning how to draw.