A gallery show that turns the form of the grid inside out, shedding more light on this iconic 20th-century favorite.
We usually describe seeing an object by using the past tense: “I saw.” The emphasis on its foreclosed quality can make us forget how open-ended seeing is. The dynamism of a seen object is every bit as charged as our bodies’ initial physiological responses to it.
Willard Boepple’s solo show of monoprints at Lori Bookstein Fine Art opens with one of the artist’s mounted resin works, “Ways and Means” (2002), a purple structure of overlapping translucent geometric forms.
Demonstrating formal finesse, visual wit and disarmingly direct technique, the recent paintings of Olive Ayhens are a pleasure to behold.
While touring a few of the many small exhibition spaces scattered throughout the city, I was pleasantly reminded that painting requires neither heroic-sized canvases nor the prestige of whitewashed airplane hangars to succeed as significant art.
To enter the studio of Tine Lundsfryd in Greenpoint, Brooklyn, you climb a dark, narrow staircase lined with paintings, into a light, open space: rooms for living, dining, and working. Each furnishing or decoration that has been allowed to remain in this very minimalist space is perfectly aesthetic, evocative of a trip or a connection to another artist.