Exhibitions
Angel Otero: Painting and the Social Landscape
Two Coats of Paint
Eileen Jeng Lynch reviews Angel Otero: Elegies, curated by Christian Viveros-Fauné, at the Bronx Museum of the Arts. The show pairs Otero’s work with three works by Robert Motherwell. Lynch writes: “The intention was not to be a one-to-one comparison but to draw parallels between the works of Otero and Motherwell, such as their emotive effect. … […]
Stanley Boxer & James Little
From the Mayor's Doorstep
Piri Halasz reviews Stanley Boxer: Gradations at Berry Campbell (through May 19) and James Little: Slants and White Paintings at June Kelly (through May 15). Halasz writes: “Although [Boxer’s] paint is about as thick as was Olitski’s during this period, Boxer’s way of laying it on – in quantities of small, solid, pats – looks […]
James Hyde @ Freight+Volume
James Kalm Rough Cut
James Kalm talks to artist James Hyde at Hyde’s show West on view at Freight+Volume, New York through May 27, 2018. Hyde comments that his new work is “a type of criticism of my own [previous] abstract painting where I felt that it was becoming divorced from the world, and with these I’m trying to allow […]
Laura Newman @ Victoria Munroe
artcritical
Jennifer Riley reviews Laura Newman: New Paintings at Victoria Munroe Fine Art, New York, on view through May 12, 2018. Riley writes: “Newman conjures varied moods in this show that lead us on non-verbal paths of visual exploration. One painting suggests night walks in a city under construction; others suggest dreamscapes of layered experience; others […]
Claude Monet: Strictly A Revolution In Seeing
Artlyst
Edward Lucie-Smith reviews Claude Monet & Architecture at The National Gallery, London, on view through July 29, 2018. Lucie-Smith observes: “One of the most interesting things about the show, at a time when social and political virtue-signalling have become primary subjects for art, is that, where themes of this kind are concerned, Monet is studiously […]
Helen O’Leary: No Place for Certainty
Art Spiel
Etty Yaniv interviews artist Helen O’Leary on the occasion of her show Home is a foreign country at Leslie Heller, New York, on view through May 20, 2018. O’Leary comments: “Painting for me has always been like digging out of prison with a spoon. Each cumulative small gesture is adding up to an act of […]
Paul Resika: Geometry and the Sea
Hyperallergic
Tim Keane reviews Paul Resika: Geometry and the Sea at Steven Harvey Fine Art Projects (through May 20) and Bookstein Projects (through May 26). Keane writes: “Resika’s recent seascapes in Geometry and the Sea prove Hofmann’s painting theory right: relationships are everything. The intensities in coloration are contained by austere discs, triangles, and quadrants. Horizons […]
Jane Freilicher @ Paul Kasmin Gallery
Vogue Magazine
Julia Felsenthal writes about painter Jane Freilicher. A show of Jane Freilicher’s work, ’50s New York, is on view at Paul Kasmin Gallery, New York, through June 9, 2018. Felsenthal notes that Freilicher was “committed … to rooting her practice in the everyday … Domestic spaces were her creative fodder; domestication was not (‘she had […]
Eros, Weaver of Myth: Image and Text in Cy Twombly
artcritical
Wen Tao reviews two exhibitions of works by Cy Twombly: In Beauty It Is Finished: Drawings 1951-2008 (through April 25) and Coronation of Sesostris (through April 28). The former is on view at Gagosian, 980 Madison Avenue New York and the latter at Gagosian, 522 West 21st Street, New York. Tao writes: “Image and text […]
Surface Work @ Victoria Miro
The Guardian
Laura Cumming reviews Surface Work, a comprehensive survey of abstract painting by female artists, at Victoria Miro Mayfair (through June 16) and Victoria Miro Wharf Road (through May 19), London. Cumming writes that the show “is nothing less than an anthology of abstract painting spanning an entire century, from early constructivism to post-digital sampling, in which […]
Steve DiBenedetto: A Denatured Humanism
New York Review of Books
Dan Nadel reviews Steve DiBenedetto: Toasted with Everything at Derek Eller Gallery, New York, on view through April 22, 2018. Nadel notes that DiBenedetto’s paintings “are first and foremost creations of the physical act of brush and scraper on canvas—where once DiBenedetto layered his paintings with allusions to psychedelic phenomena, science fiction films and literature, and modernist […]
From Stasis to Kinesis: The Woosters of Ted Stamm
artcritical
Robert C. Morgan writes about Ted Stamm’s Wooster paintings, recently on view at Lisson Gallery, New York. Morgan writes: “The Woosters employ an unusual rectangular theme that extends into a triangular hinge on the left side. These works were both drawn in graphite and painted in black and white (and, later in silver). At the outset (1978), […]
When Photorealism Meets Delacroix
Hyperallergic
Joe Fyfe observes connections between the work of Robert Bechtle and Eugene Delacroix. Bechtle’s work is on view at Gladstone 64, New York through April 21, 2018. Fyfe writes: “Both Delacroix and Bechtle are representing an ethos, that is, something that an era believes, but not something that is necessarily true. In both cases, this belief […]
Peter Lanyon: Total Immersion in Landscape
Apollo Magazine
Maggie Gray reviews Peter Lanyon: Cornwall Inside Out recently on view at Hazlitt Holland-Hibbert, London. Gray writes: “Over the course of his career Lanyon devised a unique approach to painting that relied on his total immersion within the landscape. He would walk, drive, climb, cycle, swim and eventually glide across and over Cornwall; he learnt […]
Murillo: The Self-Portraits
Studio International
Emily Spicer reviews Murillo: The Self-Portraits at the National Gallery, London, on view through May 21, 2018. Spicer begins: “At least 20 years passed between the Spanish artists Bartolomé Esteban Murillo (1617-82) painting his first self-portrait and his second and, on the surface, they look strikingly similar. The artist is wearing black, has framed his […]
The Dazzling Sweep of the Hunter Color School
Hyperallergic
Thomas Micchelli reviews Radiant Energy at the Visual Arts Center of New Jersey, on view through May 13, 2018. Micchelli begins: “Radiant Energy is both the title and the most succinct descriptor of the exhibition bringing together, for the first time, the paintings of Gabriele Evertz, Robert Swain, and Sanford Wurmfeld, key members of the […]
Paris/New York/Nexus
James Kalm Rough Cut
James Kalm visits Paris/New York/Nexus at Steven Harvey Fine Art Projects, New York, on view through April 15, 2018. The show features works by Balthus, Leland Bell, Anne Harvey, Jean Helion, Louisa Matthiasdottir, Bob Thompson, and Robert De Niro Sr. Kalm notes: “This presentation focuses on a select group of figurative artists who formed connections […]
Jennifer Coates: Lullabies for Difficult Times
Two Coats of Paint
Sharon Butler reviews Jennifer Coates,: Correspondences at Freight + Volume, New York, on view through April 15, 2018. Butler writes: “At first glance, the paintings convey a sense of joy, in the same way that Paul Klee’s idiosyncratic visual language does. Yet in some, like Bull Spirit(2018) and Small Rabbit Spirit(2018), globs of slathered paint, […]
Trevor Winkfield’s Undomesticated Imagination
Hyperallergic
John Yau reviews Trevor Winkfield: Saints, Dancers and Acrobats at Tibor de Nagy Gallery, New York, on view through March 25, 2018. Yau writes: “Modest in scale, rigorous in execution, mysterious and aloof in outcome, Winkfield’s invented forms tell us that all is not lost, that capitalism does not yet own our imagination — that […]
Josef Albers: Bauhaus in Mexico
New York Review of Books
J. Hoberman reviews Josef Albers in Mexico at the Guggenheim Museum, New York, on view through March 28, 2018. Hoberman writes that the exhibition “makes Albers’s appreciation [of Mexico] evident, juxtaposing his studies, typically drawn on graph paper, with both his finished artwork (mostly paintings, one lithograph) and his fastidious arrangements of tiny on-site photographs. Serially organized […]