Looking at Marcia Kure’s watercolors and collages, the word that comes to mind is “torque.”
From Ulysses and Arjuna to Sir Galahad, Fletcher Christian and his fellow mutineers, Jack Kerouac and, more recently, Greg Smith, the quest (or road trip) for redemption, transformation, utopia, or just some very good peach-and-banana ice cream is a theme that spans world culture, from great literature to bad movies, with lots of stops in-between.
On the face of it, Gary Stephan’s paintings seem straightforward and austere. Done in acrylic, their viscosities of paint, range from striated, semi-transparent brushstrokes laid down with the same consistency as they span the canvas, to watery, semi-transparent irregular shapes, to solid geometric planes of color – virtuosity in plain sight.
This is the second exhibition of Allison Miller at Susan Inglett Gallery. I was struck by the quiet independence of her first New York show, which I reviewed. The recent show further convinced me that Miller — who refuses to make work that is stylish, seductive, charming, nostalgic, retro, ironic or hip — is up to something.