Sultan’s works implicitly reject the corporate scale of the Minimalists in favor of a domestic and intimate space
Pete Schulte’s drawings at first seem to be easily apprehended and quickly digested, but they demand a deeper reflection on choices and motives.
Gary Petersen is a highly intelligent painter, which is to say he has absorbed a lot of art history and, more importantly, is at ease with it.
With each new exhibition, it becomes more apparent that Don Voisine is adding his own earned options to the legacy of geometric abstraction.
Sultan is both the artist and the artisan — a view that goes against the grain characterizing art as a purely conceptual activity, a form of entrepreneurship.
A year of truth-telling and electric painting.
Jason Karolak’s colors grab your attention like flashing LEDs in a dark-as-midnight casino.
Every color in a Voisine painting has its own material identity. Even the narrow bands edging or running through the panel’s border colors convey a distinctive feel to their physicality.
Gary Petersen’s skewed geometric paintings call forth analogies to music and architecture, a realm of vertical intervals and diagonal supports spliced into a precarious balance.
The first paintings you see in Construction Site, the new exhibition at McKenzie Fine Art on the Lower East Side, are three slabs of red polyurethane resin with wood inlays by Noah Loesberg.
The unclassifiable drawings of Judith Braun are now on view in two concurrent, very different solo exhibitions.
2015 was the Year of the Whitney.