Mythological creature: Susan Bee

Susan Bee, “Woman Tormented By Demons,” 2009, oil on linen, 18 x14.” This week, after a trip to the Venice Biennale, Jerry Saltz worries about the state of the art world and suggests that younger artists have hit a rough patch. At the Biennale he “saw the same thing, a highly recognizable generic ­institutional style … read more… “Mythological creature: Susan Bee”


IMAGES: Clare Grill

 Clare Grill, “Tape,” 2011, oil on linen, 11 x 11.” Clare Grill, “Gimcrack, 2011, oil on linen, 20 x 19.” This week I saw a few of Clare Grill’s paintings at “A Review,” Edward Thorp’s eclectic group painting show that’s up through July 29. Grill relies on small scale and sensitive brushwork to capture intimate … read more… “IMAGES: Clare Grill”


“Unapologetically carnal and verging on the grotesque”

Ion Birch, “Le Papillon,” 2010, graphite on paper, 25×22″ How can we not love the bawdy irreverence of summer group shows like “Romantic Agony,” which is on display at Horton Gallery through the end of the week. The title for this post comes from the press release, which earnestly calls the work “fleshly [sic] but … read more… ““Unapologetically carnal and verging on the grotesque””

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Kara Walker: The wilder shores

  Kara Walker at Sikkema Jenkins, installation view. “This new work is also an object lesson for artists. Walker’s discipline and willingness to return to something as fundamental, intimate, and seemingly mundane as drawing—a medium that’s all about the marvels of movement, often passed over in the rush to new media—are remarkable. The astonishing ­reminder … read more… “Kara Walker: The wilder shores”

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Who is Kay Sage?

  Kay Sage, “Tomorrow is Never,” 1955, Oil on canvas, 37 7/8 × 53 7/8 inches, The Metropolitan Museum of Art, Arthur Hoppock Hearn Fund A few years ago I was at the Mattatuck Museum checking out the Connecticut Biennial, and I ran across a haunting painting by Kay Sage in the permanent collection. From … read more… “Who is Kay Sage?”


Chris Martin’s bigness

Chris Martin, “Staring into the Sun… (4 → 7 → 11),” 2003, oil on canvas, three parts, 143 x 129″ each. When I first started writing for The Rail, in an article about the Tomma Abts show at the New Museum, I took a quote from a  Chris Martin interview out of context, suggesting that … read more… “Chris Martin’s bigness”


Seeing silver

At Martos Gallery: Davina Semo, “THEIR NOSTRILS SNIFF THE ORGY BEHIND THE WALL OF FLAME AND STEEL,” 2011, spray paint on safety glass, reinforced concrete, 36 x 36″ In a recent New York Mag review about Mark Grotjahn‘s show at Anton Kern, Jerry Saltz admired the paintings for what they are not. “Unlike much art … read more… “Seeing silver”


The New Casualists

Contributed by Sharon Butler / The pioneers of abstraction—the Cubists, the Abstract Expressionists, the Minimalists—emerged from firm and identifiable aesthetic roots and developed their own philosophies. In the competitive maelstrom of 20th century art, those philosophies became dogmas, and the dogmas outright manifestos. In the new century, many abstract painters are saying goodbye to all … read more… “The New Casualists”


Artists who curate: “Creating opportunities for felicitous constellations”

 “Reverie,” a group show  curated by Stephen Westfall. Installation view, Zurcher Studio. The other day Austin Thomas, who is feeling overwhelmed with emails from struggling artists,  blogged some career advice. Rather than continually ask other people for career help, Thomas urges artists to simply do something interesting (curate a show, organize a salon, write about … read more… “Artists who curate: “Creating opportunities for felicitous constellations””