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.
For years, Coffey has produced modestly scaled self-portraits with not a brushstroke of flattery.
In recent decades, living and working in and around Cape Cod, Paul Resika’s imagery has veered between the naturalistic and the mythical.
Anne Harvey’s life — the first half of it, at least — reads like a fairy tale.
Huckaby, who lives in Fort Worth, Texas, where he was raised, and teaches at the University of Texas at Arlington, draws people he knows: family, friends, and neighbors in the African American community: he makes the local become something more.
I liked Outside In because I found out what five artists whose works I have followed are doing these days.
As it happens, there are currently two exhibitions in New York that offer glimpses into the bonding of artistic communities in defiance of the encroaching darkness, first in rage and then in compassion.
I want to start my review of Endymion: Recent Paintings by Clintel Steed at Steven Harvey Fine Art Projects/SHFAP with a statement the artist made to Jennifer Samet in an interview that appeared on her blog, “Beer with a Painter.”