Contributed by Martin Bromirski / Frankie Gardiner lives in an old house across from a barn at the curve of a narrow road. Her yard is almost overgrown, the forest is closing in. With the lights out inside her house, near the end of an August day, I visited to see her paintings. A figure … read more… “Frankie Gardiner: Painting the unknown”
Author: Editor
Art and Film: Mark Asch’s New York
Contributed by Jonathan Stevenson / Rivaled only by Los Angeles among cities celebrated in American cinema, New York deserves its own pointedly knowing and satisfyingly chunky essay on films set there. Now the city has one, in the form of Mark Asch’s New York Movies, the latest volume in Little White Lies Magazine’s Close-Ups series … read more… “Art and Film: Mark Asch’s New York”
Matthew Miller: Inside the near-perfect black
Contributed by Jonathan Stevenson / Brooklyn-based Matthew Miller, recognized as an extraordinary figurative painter for some time, recently held an open studio in anticipation of a three-person show in Copenhagen. Included among three paintings slated for display is an unusually complex one for him, magnificent in both its solemn, old-world dignity and its cagey, contemporary fusion … read more… “Matthew Miller: Inside the near-perfect black”
Elisa Lendvay: Waltz of charms
Contributed by Liz Ainslie / For several years I have watched Elisa Lendvay’s sculptures emerge with a winning combination of grace and wonkiness from the cement floors and drywall corners of Bushwick spaces, and appear as jewel-like talismans atop the pedestals of Midtown galleries. “Rise,” Lendvay’s solo exhibition at Sargent’s Daughters on the Lower East Side, … read more… “Elisa Lendvay: Waltz of charms”
Neue Galerie’s “degenerate” art and Babylon Berlin
Contributed by Jonathan Stevenson / Neue Galerie’s compellingly incisive exhibition, titled “Eclipse of the Sun: Art of the Weimar Republic” and anchored by Georg Grosz’s 1926 painting Eclipse of the Sun, yields an ominously resonant tableau of a post-World War I Germany saturated with angst. Grosz’s busy, quizzical work depicts an aloof and corrupt Paul … read more… “Neue Galerie’s “degenerate” art and Babylon Berlin”
Benjamin Pritchard and Natasha Wright: Dark, murky, and subterranean
Contributed by Sharon Butler / Recently, Natasha Wright and Benjamin Pritchard had concurrent solo exhibitions at the John Davis Gallery in Hudson, NY. Both painters are drawn to a raw style of power painting that conjures Jackson Pollock and Lee Krasner in the pre-drip years, when they were thinking about Jungian analysis, the Collective Unconscious, and the spiritual … read more… “Benjamin Pritchard and Natasha Wright: Dark, murky, and subterranean”
Hello Instagram: Soumya Netrabile in Chicago
Contributed by Giovanni Garcia-Fenech / I initially resisted Instagram, dismissing it as a repository of selfies, sunsets, and celebrities, but, soured by Facebook and Twitter, I finally joined. Over the past four years I’ve come to appreciate IG for introducing me to a lot of terrific artists, many of whom never show their work in … read more… “Hello Instagram: Soumya Netrabile in Chicago”
Erin Lawlor: Like blood flowing to and from the heart
Contributed by Jennifer Rose Bonilla-Edgington / Erin Lawlor’s paintings, on view at Miles McEnery Gallery through August 16, have a sense of the familiar. Wide brush strokes play off one another, conjuring winding ribbons, rendered systematically like blood flowing to and from the heart — an ebb and flow of the most critical kind. At first … read more… “Erin Lawlor: Like blood flowing to and from the heart”
Art and Film: Tarantino’s glourious layer cake
Contributed by Jonathan Stevenson / Once Upon a Time … in Hollywood, Quentin Tarantino’s re-imagining of the Sharon Tate story, is among his best films. It is on a par with Pulp Fiction and Inglourious Basterds, emotionally moving as well as intellectually hefty, and everything a black comedy should be: smart and ultimately serious as … read more… “Art and Film: Tarantino’s glourious layer cake”
Catalogue essay: Paul Pieroni on Peter Halley’s 1980s painting
The aim of this text, which was originally published as “Facts are Useless in Emergencies” in Peter Halley: Paintings of the 1980s The Catalogue Raisonne, is to provide an in-depth analysis of Peter Halley’s painting as it emerged during the 1980s. I engage Halley’s theoretical writing—which extends his visual language—while also considering the critical reception … read more… “Catalogue essay: Paul Pieroni on Peter Halley’s 1980s painting”