Grill’s diaphanous brushstrokes and floating forms express a world in a state of unavoidable change.
Whatever the impulse that initiated the paintings, DiBenedetto clearly works everything out on the surface.
What is striking about Jiha Moon’s work is that it does not quite fit into the New York art world’s current concerns with racial and ethnic identity because, as far as I can tell, this art world has never addressed issues of Asian cultural dislocation.
DiBenedetto is exploring a realm where figuration and abstraction have collapsed, and the body and the paint are inseparable.
Michelle Segre’s rejection of commodity fetishism and a society that worships shiny surfaces is to be admired because she does it with such verve.
Typically a stronghold of painting, the NADA Miami Beach fair is awash in clay sculpture this year.
It’s tempting to characterize Karl Wirsum’s recent spate of exhibitions in the city as his New York moment.
Steve DiBenedetto’s current exhibition, Mile High Psychiatry, at Derek Eller marks a breakthrough for a painter who is best known for his encrusted surfaces jam-packed with helicopters, octopi and neural networks.
In Michelle Segre’s sculpture “Self-Reflexive Narcissistic Supernova” (2013), a mushroom cap — made of wax and five feet in diameter — lies on its side in a provocative position evoking a horn, ear, and vagina — a form that receives and/or transmits.
Do you ever wonder how stupid the New York art world can be? Well, if you don’t have enough proof, here is another example to add to your cache. Karl Wirsum at Derek Eller (October 12–November 16) is the artist’s first exhibition of recent work in New York since 1988.
Five galleries sit in a row on the northern edge of Chelsea, lined up on 27th Street between Eleventh and Twelfth Avenues. All of them are fairly small, by Chelsea standards, and a bit rougher around the edges, perhaps a bit more experimental, than your average neighborhood space. Unfortunately, all of them were also hit incredibly hard by Hurricane Sandy.