Physical and psychological effects of natural and man-made disasters are the subject of Alyssa Fanning’s delicate draawings, on view at Platform Project Space in DUMBO.
Sue Havens’ history – her searching and sometimes painful life experiences and her adventurousness in the studio – are distinctly encoded, like a unique double helix of molecular structure, in the complex work she has produced this past year.
Something there badly not wrong –Samuel Beckett, Worstward Ho Contributed by David Humphrey / The spinning rainbow symbol interrupts our screen time. Buffered and helpless, we pause with the device to wait, perhaps to sink back into our thoughts or to drift into another task. That rainbow, called by some […]
Contributed by Jason Stopa / Some painting of the last decade presents itself as politically neutral, simply about aesthetic taste, and lacks any stakes. Others still are incredibly didactic, demanding the viewer agree with their sentiment as much as their surfaces. Somewhere in the nexus of this is a 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 […]
Contributed by Samantha Mitchell / In his definition of heterotopia (of which utopia and dystopia are types) Michel Foucault writes about the mirror as an agent of transformative realization of self in place – simultaneously illuminating and falsifying our own image: I see myself where I am not, in an unreal, […]
Contributed by Sharon Butler / When Brooklyn artist Jennifer Riley began making large-scale abstract paintings using discarded laser-cut pieces of steel, she connected with a century of artists preoccupied with the deconstructed machine. They ranged from post-World War I Dadaists like Raoul Hausmann and Francis Picabia whose images of humans […]
Note: This essay, written by artist and art writer Thomas Micchelli, originally appeared in the catalogue for “Free Fall,” Cordy Roman‘s 2017 solo show at Tower 49 Gallery. The eight-foot-long two-by-fours cascade down the wall from the farthest corner of Cordy Ryman’s double-height Sunset Park studio: wooden lengths in forest green, […]
The following is an interesting catalogue essay that critic Carter Ratcliff wrote for Brooklyn painter Michael Voss’s 2014 solo show at George Lawson in San Francisco. Ratcliff rightly suggests that painters aren’t resigning themselves to imperfection, but rather cultivating it. Abstract painting was born from a yearning for absolutes. In […]