The fluency of concept and form in Paul D’Agostino’s new, bifurcated show at Life on Mars marks a further consolidation of his rigorous attention to language and the infinity of ways it can be parsed, subverted, and remade.
2015 was the Year of the Whitney.
It may be a stretch to say that portraiture is in the air — given that there are all of two exhibitions devoted to it in New York City right now, one in Manhattan and one in Brooklyn — but their confluence can feel like the kind of Marxian (Groucho, not Karl) charge you get from watching a tradition-bound idiom seize up and explode.
The paintings in Karen Schwartz’s show at Life on Mars are big, bold semi-abstractions that skate along the edge of chaos.
I want to believe that this is the beginning of the art world’s real and enduring appreciation of Brenda Goodman’s hard won achievement.
The Bushwick boom continues. When it opens its doors on Friday, October 4, the painting-focused Life on Mars gallery will be the newest entrant to the Bushwick art scene, joining the bustle at the 56 Bogart building.