Meyer has turned Pollock’s all-over painting on its head.
Greg Lindquist’s landscape paintings, rendered in a range of queasy-making yellows and greens, address air and water pollution from coal-powered plant emissions.
Ten years ago, in an interview that I did with Stephen Westfall, he said that he was interested in a skewed grid because it looked as if “the whole thing could tremble and be knocked over.”
Since 2001, Melissa Meyer has continued to reinvent herself without severing her connections to Abstract Expressionism or, more particularly, the brushstroke and drawing in paint.
The key to Harriet Korman’s work is drawing. However, until this exhibition, Harriet Korman: Line or Edge, Line or Color, New Paintings and Drawings, at Lennon, Weinberg she has tended to show only a few drawings at a time.
Laura Larson’s current show of photographs at Lennon, Weinberg, Inc. feels like a small museum retrospective. The elegantly installed exhibition explores the artist’s career over a twenty-year period, from 1992 to 2012.
Over the past decade, Melissa Meyer, rightfully characterized by David Cohen “as virtually without a peer as a lyrical abstractionist,” moved from the lyrical to the disjunctive.