Art
Where Brenda Goodman’s Paintings Are Taking Us
From limbless bodies to gorging, ravenous figures to gouged surfaces, there has always been something broken and deeply damaged about Goodman’s art.
Art
From limbless bodies to gorging, ravenous figures to gouged surfaces, there has always been something broken and deeply damaged about Goodman’s art.
Art
Snider’s interest in the relationship between popular culture, theater, dancing, innovative art, politics, and persecution, as seen through the lens of the Russian Revolution and Soviet art, addresses the present moment.
Art
With ATOMIC, her new body of work, Patricia Satterlee pitches us into abstract apparitions of heaven and hell before pulling us back to earth.
Art
Engels the Artist doesn’t seek out these other vocabularies — he is firmly a painter, but one who employs a number of deconstructive tools in his work.
Art
Pete Schulte's drawings at first seem to be easily apprehended and quickly digested, but they demand a deeper reflection on choices and motives.
Art
Is Joanne Greenbaum making fun of collectors’ tastes, or is she enlarging the definition of art? The fact that you cannot tell is what is so great about her work.
Art
Joe Coleman is a hyper-realist who crams every picture with data, producing an image of all-over intensity that is at once a scrumptious meal and hard to stomach.
Art
By the mid-1970s, critic Thomas Hess acknowledged the critical favoritism shown to postwar male artists when he singled out the women of the Ninth Street Show as “sparkling Amazons.”
Art
Sarah Amos’s work may be labor-intensive, yet it conveys neither labor nor the consumption of time, but a meditative joy.
Art
The artist — still brilliant and brimming with artistic talent — will celebrate his 86th birthday on November 30.
Art
It is a finely attuned openness to the world that we encounter in Suzan Frecon’s work, a sense of color unlike anyone else’s.
Art
These are the paintings of a modern master for whom dissipation and loss of control have become integrated into the work.