Each canvas follows its own off-beat rhythm.
To focus on Puryear’s devotion to craft and the handmade is valid, but now seems too narrow a view.
As her death approached, was the artist starting fresh or beginning to let go?
Trafficking in fragments of beings, machines, and ideas, Julia Phillips rejects the immediate gratification of simple forms and answers.
Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.
Nilsson’s paintings come across as youthful and wise, a rare combination in any art.
Jordan Belson wanted the viewer to see only what was in front of his or her face — to scrutinize his paintings from up close.
In these works, we are looking at a merging of organization and dissipation, an image of our destiny.
Rocca’s drawings evidence an interior gaze and the working out of psychological states.
It is not every day that you can go to Chelsea and see more than 100 paintings by 46 artists within the space of a few blocks.
Is Gober taking stock and summing up his life at his latest exhibition at Matthew Marks? If so, he sure is breaking new ground while at it.
Martin Barré’s work refutes the American view that painting is something that could be used up — as if it came in a pail rather than a well.