Doyle’s sculpture offers an opportunity to contemplate the beauty of pure form, but without a hint of nostalgia.
Without resorting to parody or cynicism, Staver undoes the tropes we associate with depictions of heroic and mythical.
Each of these exhibitions showed me something I had not seen before.
This is the American dream gone wrong.
The key to Miyamoto’s work is repetition that never becomes routine, no matter how mechanical the process might seem.
Wagner’s method is as straightforward as it is mind-bogglingly precise, so much so that it took a great deal of close scrutiny to fully grasp exactly what she is doing.
The nine artists in 1970’s: 9 Women and Abstraction infuse their art with an unexpected warmth, humanity, and quirkiness that feel all the more invigorating when compared with the cerebral objectification prized by their male Minimalist counterparts.
In his best works Cordy Ryman makes something visually arresting out of ordinary materials and paint — stuff you can buy in a hardware store.
In his third and best exhibition, Matt Bollinger: Independence, MO, at Zürcher Gallery, the artist continues to remember and invent aspects of his youth, family and friends, while growing up in and around Independence, Missouri, a suburb of Kansas City.
As part of the frenzy of Frieze Week, Zürcher Gallery is hosting Salon Zürcher, a more intimate fair featuring both emerging and established artists.
Regina Bogat: Works 1967-1977 at Zürcher Gallery marks another milestone in the rediscovery of an artist who has long been hidden in plain sight. Since her start in the 1950s, in a milieu that included abstract artists like Mark Rothko, Ad Reinhardt and her late husband, Al Jensen, Bogat has always played the subversive.