In Purell Night & Day, Susan Chen focuses on the ubiquitous hand sanitizer, a reminder of the isolation we experienced during the lockdown.
Talia Levitt homes in on the everyday people, animals, and urban infrastructure that are emblematic of New York, but not often celebrated.
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.
Sally Saul makes sculptures that are funny, sweet, and tender – states we are not likely to encounter in art or even in life.
Typically a stronghold of painting, the NADA Miami Beach fair is awash in clay sculpture this year.
Joanne Greenbaum began making tiny sculptures out of Sculpey in 2003.
Serendipity often plays a role in gallery going. Occasionally you come across two shows at unrelated galleries that suggest a connection that couldn’t possibly have been planned. You could argue such occurences have the makings of a zeitgeist, but sometimes they are simply coincidences that reveal common interests or goals among a few artists who make work in different places. Kristine Moran’s Protean Slip at Nicelle Beauchene Gallery and Gianna Commito’s self-titled show at the Rachel Uffner Gallery were the source of my latest visual connection making, and both painting shows at Orchard Street galleries are some of the best at the moment.
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.
A generic survey of New York’s Lower East Side galleries, perused at random on the first week of November, 2010, including observations from a viewer completely outside the art world.
Jerry Saltz often ridicules artists for not going to see enough shows; that they have several cookie-cutter reasons: too busy, not wanting to overexpose themselves in the scene, fear of polluting their unique and singular artistic vision, etc. Well, I set the fear of contaminating my art aside and I went around the New York City’s Lower East Side gallery circuit on Saturday to bring you the report.