Jude Tallichet’s sense of the ineffable

Contributed by Adam Simon / Jude Tallichet’s Fire Escape, one of several sculptures in her exhibition ”Heat Map” at Smack Mellon in Dumbo, doesn’t look like something that would help if your building were burning down. It hangs there in all its ineffectuality, abject yet amiable, enormous and out of place (except that nothing is … read more… “Jude Tallichet’s sense of the ineffable”

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A conversation: Becky Yazdan and Zachary Keeting

Abstract painter Becky Yazdan, who earned her MFA at the NY Studio School studying with painters Bill Jensen and Graham Nickson, recently had a solo show at Fred Giampietro in New Haven. Zachary Keeting met her at the show, where they talked about painting, narrative abstraction, the relationship of art to life, and how her … read more… “A conversation: Becky Yazdan and Zachary Keeting”

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Paige Beeber: Transient future

Contributed by Zach Seeger / The novel coronavirus has prompted a slowdown in global commerce. While temporary, it comes at a time of overarching uncertainty in the global art market, with political instability, climate change, and non-Amazon retail suffering. How will artists respond to a shifting world that requires adaptation, especially given that Instagram and … read more… “Paige Beeber: Transient future”

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White, Woll, and the artist’s sense of control

Contributed by Riad Miah / Taylor Anton White and Andy Woll’s solo exhibitions opened at two galleries next door to each other in Tribeca, White’s at Monica King Contemporary and Woll’s at Denny Dimin Gallery. Their bodies of work are outwardly different, but they are both visually as well as substantively compelling and have enough … read more… “White, Woll, and the artist’s sense of control”

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Panel discussion: Painting in 2020

On January 16, 2020, artist and curator Jason Stopa invited Katherine Bradford, Sharon Butler, Craig Stockwell and Thomas Micchelli for a panel discussion about the issues abstract painters are addressing today. The conversation took place at Monica King Contemporary, a new gallery in Tribeca where Stopa organized “New Skin,” an exhibition featuring his work, alongside … read more… “Panel discussion: Painting in 2020”

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Art and Film: Surviving the Oscars

Contributed by Jonathan Stevenson / Martin Scorsese directed what was probably the best American movie of the year – The Irishman – and it garnered not a single Academy Award despite ten nominations. The film’s Netflix backing and correspondingly enervated theater release annoyed key players in the Academy and appeared to doom its prospects. Despite those exogenous … read more… “Art and Film: Surviving the Oscars”

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Studio visit: Susanna Heller’s endless strength

Contributed by Medrie MacPhee / Before Susanna Heller’s paintings were wrapped and shipped to Toronto for her upcoming solo show at Olga Korper, I brought Sharon Butler by her studio, which straddles the line between Greenpoint and Williamsburg. Susanna and I moved from Haliifax to the East Village after we graduated from the Nova Scotia College of Art … read more… “Studio visit: Susanna Heller’s endless strength”

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On its own terms: “Specific Forms” at Loretta Howard

Contributed by Kim Uchiyama / “Specific Forms” at Loretta Howard Gallery illuminates a particular moment in 20th century art history where works created by a variety of artists occupied the space between the then diverging ideologies of a young Donald Judd and those of the older critic Clement Greenberg. Saul Ostrow has curated a finely-tuned … read more… “On its own terms: “Specific Forms” at Loretta Howard”

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The political power of art

Contributed by Jonathan Stevenson / In a typically penetrating New York Times column earlier this month, David Leonhardt pointed out that one of Franklin Delano Roosevelt’s many insights was the need to showcase as well as merely extend government largesse in order to impress upon its beneficiaries the ongoing value of the federal government’s involvement in their … read more… “The political power of art”

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