By introducing his motifs into a children’s story, and avoiding any sense of self-importance, Scully reveals another side of himself.
Cheim & Read
Posted inArt
Peter Shear Lets Paint Be
The position Shear has been defining in his work is one that accepts, contemplates, and reimagines the possibilities of abstract painting.
Posted inArt
Ron Gorchov’s Art of the Here and Now
Gorchov is an artist whose best pieces are purely aesthetic and totally present, here and now.
Posted inArt
An Icon of Unconventional Abstraction
Serge Poliakoff: Gouaches 1938-1969 furthers the case for Poliakoff’s importance and continuing relevance to abstract painting.
Posted inArt
Matthew Wong’s Indelible Impressions
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.
Posted inArt
Lynda Benglis Is Back — Knots, Pours, Dildos, and All
The patron saint of provocation is back with Early Work 1967-79, her first major New York show since 2011.
Posted inArt
Ron Gorchov’s Guardians
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.
Posted inArt
Beer with a Painter: Tal R
Tal R talks about “watching” paintings — not just looking at them. It might be a language tic, but it also feels specific.
Posted inArt
Turning the Male Gaze on Its Head
It’s an oh-so-good premise for an exhibition: exploring the female gaze.
Posted inArt
How Sean Scully Bent the Grid
The Irish-born, London-educated, abstract painter Sean Scully established a signature style of painting nearly four decades ago.
Posted inArt
How Serge Poliakoff Predicted 60 Years of Painting
Deep inside every great painting is the question of what it means to paint.
Posted inArt
The Disorienting Power of Al Held’s Black-and-White Paintings
In 1967, the angel of ambiguity rescued Al Held from the burly heaviness of his body and the formalist ideology of his thinking.
