Michelle Segre’s art is truer to the actual world we live in than to the ideal one proposed and refined by the art world and its institutions.
Derek Eller Gallery
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Jiha Moon’s Artistic Breakthrough
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
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Clare Grill’s Untranslatable Paint
Grill’s diaphanous brushstrokes and floating forms express a world in a state of unavoidable change.
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Steve DiBenedetto’s Raw Nerves
Whatever the impulse that initiated the paintings, DiBenedetto clearly works everything out on the surface.
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What the New York Art World Is Missing
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.
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Steve DiBenedetto’s Playground of Paint
DiBenedetto is exploring a realm where figuration and abstraction have collapsed, and the body and the paint are inseparable.
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Totems for a Religion of One
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.
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Ceramics Stage a Coup at NADA Miami Beach 2016
Typically a stronghold of painting, the NADA Miami Beach fair is awash in clay sculpture this year.
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Transfigured: An Interview with Karl Wirsum
It’s tempting to characterize Karl Wirsum’s recent spate of exhibitions in the city as his New York moment.
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Back to the Future with Steve DiBenedetto
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.
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Receivers and Transmitters: Michelle Segre’s Recent Sculpture
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.
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The World According to Wirsum
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.