Appel’s vertical and horizontal formats suggest a narrative that can be read, but what is within their borders resists understanding.
Bill Rice’s paintings are glimpses of Manhattan’s old East Village of crime, abandonment, cruising, and hanging out.
There is the singular artist and then there is the more exclusive club that has only one member. Harvey belongs to the latter.
In an age dominated by narcissism and material excess, Acheson’s anti-heroic position as an admirer of other artists should be something that we reflect upon.
If art is regarded traditionally as an impermeable form that resists the effects of time, Rosen acknowledges and accepts their inevitable triumph.
Paint’s materiality has a capacity to release meaning into the work, to underscore our vulnerable bodily presence in the world and time.
L. Brandon Krall seems simultaneously to embrace systems and flights of imagination.
The artists in Post prove that paintings and drawings can be captivating years after they were done, and that a timely style has a way of becoming uninteresting, even mummifying.
In Madeline Donahue’s first solo exhibition, Attachments, the relationship between a mother and child threatens to subsume each individual into one being.
You could say that Sangram Majumdar is learning a way of drawing in which mastery is beside the point.
Jason Stopa is a historically savvy painter whose approach to Pop Formalism can cut either way, toward reflexive irony or an expanded employment of the language of paint.
Even as Pollock was eliminating mythology in his work, younger artists born in the 1920s were finding ways to make it fresh.