Fish’s artworks elude every attempt to enclose them in language, and they resist explanation. They become something only a painting can be.
David Nolan Gallery
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The Gallery Dealer as Tightrope Walker
Rather than identifying with a style or brand, Klaus Kertess was remarkably independent in his choices, and was not averse to risks.
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Strokes of Conflict
The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
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A Disruptor of Race and Sex
In a time when many artists are content to establish one-to-one correspondences between signifier and signified, sign and meaning, Wardell Milan’s ambiguity is refreshing.
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Ian Hamilton Finlay’s Philosophical Gardening
For Finlay, the garden was not simply a place of beauty, but rather a liminal space bordered by nature and culture, where visitors are invited to meditate on the different ways time passes.
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Sandra Vásquez de la Horra’s Guide to the Americas
In Vásquez de la Horra’s cosmology, we encounter fantastical creatures on whatever journey we take, whether it is to a real place or an imagined future.
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Julia Fish’s Sense of Passage
We are not likely to stop and ponder the things we daily pass by and over, but Julia Fish clearly does.
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The Twilight States of Jonathan Meese
Since the early 2000s, Jonathan Meese, who is based in Hamburg and Berlin, has cultivated a persona as a propagandist for what he calls the Dictatorship of Art
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The Music Must Go On
I don’t think it is hard to understand why Sandra Vásquez de la Horra’s pencil drawings depict dejected, often isolated figures from a domain that is simultaneously fairy tale, horror story, and dream.
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Ray Yoshida’s Foresight
What do Roger Brown, Sarah Canright, Jordan Davies, Ed Flood, Art Green, Philip Hanson, Richard Hull, Jin Soo Kim, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, William Schwedler, Rebecca Shore, Chris Ware, Karl Wirsum and Mary Lou Zelazny have in common?
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Figure Is to Background as Representation Is to Model: Neil Gall’s ‘Cut-Outs, Offcuts and Holes’
In Neil Gall’s newest paintings, which are currently being exhibited at David Nolan, there is a powerfully coercive interplay between figure and background that veers between the unstable and the terrifying.
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Look Before You Sit: At Frieze New York, the Seats Are All Sculptures
Frieze New York opens its doors to the public today, but already during yesterday’s press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures.
