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More than Meets the Eye
If you see lots of work by different artists, you are going to make your own connections.
Steven Harvey Fine Art Projects
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The Pursuit of Art, 2015
2015 was the Year of the Whitney.
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For the Love of Paint
Ambition has nothing to do with scale. The largest painting in Eleanor Ray: paintings at Steven Harvey Fine Art Projects measures 10 x 8 inches.
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“Insanity, Chaos, Weirdness”: Gregory Gillespie’s Solitary Path
When I left Gregory Gillespie: rorschaching at Steven Harvey Fine Art Projects on the Lower East Side, I decided to leave it alone.
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Paradise Regained, If Only for the Night
I had not seen Kyle Staver’s frieze-like clay sculptures before encountering two of them in Kyle Staver: Tall Tales, her current show at both Lower East Side spaces of Steven Harvey Fine Art Projects.
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Earned Magic: Alison Hall's Deceptive Monochromes
Alison Hall’s small, smart, monochromatic panels are clear, compact and not at all what they seem.
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An Extraordinary Studio Artist in a Post-Studio Era
As I have written previously, there is a lot of very good painting going on these days. It is just that you are not likely to see much of it at the Museum of Modern Art, the Whitney, or the Metropolitan Museum of Art, at least in recent memory.
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The Power of Tiny Paintings
At the age of 27, painter Eleanor Ray has already made something of a critical splash. As of this writing, her second show of 40 paintings at the gallery has very nearly sold out.
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Thirteen Ways of Looking at a Painting by Gideon Bok
For Gideon Bok, painting, which has historically been defined as a container, a window, or a two-dimensional surface, is at least all three at once. Although I have no proof, I also felt that Bok may also think of painting as a screen.
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Necessary Ambiguity: Sangram Majumdar’s Recent Work
In a media-riddled world where images rapidly circulate, moving from momentary commodity (“gone viral”) to forgotten waste, Sangram Majumdar is interested in “what stays.”
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Dark Paintings Done in a Dark Time: Lester Johnson’s Men
Lester Johnson (1919–2010) was an innovative figurative painter who has never quite fit into any of the accepted narratives of postwar American art, and that alone makes his work worthy of a longer look.
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The Last of the True Believers
Just the other day, I was deep in the bowels of the permanent collection of the Metropolitan Museum of Art when I thought of Paul Resika. I had met him briefly many years ago, when I was a graduate student and he was a guest critic. In the middle of a group critique he mentioned that he visited the