It is time that the art world recognize what Bluhm went on to do during the last three decades of his life, when he was deep into his own territory.
Miles McEnery Gallery
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Is It an Artificial Paradise or an Artificial Hell or Both?
Elliott Green seems to be espousing that landscapes are living forms governed by rules we cannot fathom — they appear to be welcoming us, but we might be wrong.
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How Much Syrup Can a Doughnut Leak?
Emily Eveleth’s paintings of doughnuts are lurid, funny, unsettling, sexy, off-putting, luscious, puffy, bawdy, and excessive.
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What to Do About the Artists in Your Studio
If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
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The Tension in Liat Yossifor’s Paintings
In Yossifor’s work, connections between the imagination and the ordinary world are made not through the pictorial, but through the paint itself.
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With a Room of Her Own, Emily Mason’s Ethereal Abstractions Bloomed
Mason’s expansive Chelsea studio became her tuning fork — the barometer she used to check that colors and shapes were humming at the right frequency.
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Warren Isensee’s Breakthrough
Isensee has gone from being a dutiful geometric abstractionist to defining his own trajectory, and gaining a verifiable freedom for himself.
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Phillip Allen’s Astonishing Achievement
I have come to think of Phillip Allen as one of the most wonderfully challenging painters around.
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In Praise of Painting’s Ambiguity
The literalism of 1960s Formalism has been replaced by an insistence on the factual, which leaves little room for the imagination or for speculation.
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Suburban Visions to Make Your Skin Crawl
Amy Bennett gives us just enough tantalizing visual details to enthrall and mystify, without becoming heavy-handed.
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Deciphering Inka Essenhigh’s Blurred Visions
Essenhigh reveals a freedom that resonates with all manner of fusion: of figure and design, of abstraction and narrative, of sentiment and humor, and more generally, of ambitious painting with a readable narrative.