Whatever the impulse that initiated the paintings, DiBenedetto clearly works everything out on the surface.
For artists and writers, self-isolation means doing what they have always done — which is work at home.
The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
DiBenedetto is exploring a realm where figuration and abstraction have collapsed, and the body and the paint are inseparable.
Two artist couples that are good friends have an exhibition and show together for the first time. That seems to me as good a reason as any to have a show.
If painting maps the mind, then Steve DiBenedetto must be a very interesting guy to hang out with.
Steve DiBenedetto has not been sitting still. I cannot imagine that he ever does.
Steve DiBenedetto’s current exhibition, Mile High Psychiatry, at Derek Eller marks a breakthrough for a painter who is best known for his encrusted surfaces jam-packed with helicopters, octopi and neural networks.
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.