Contributed by Sharon Butler / When Nathaniel Robinson takes the train from Brewster, New York, down to the city, he snaps pictures along the way. Hastily cropped and blurry in some areas, these images have become the basis for a series of sublime paintings on view at Devening Projects in Chicago.
Contributed by Sharon Butler/ At Chart, Karin Davie, in her first NYC show since 2007, has moved with elegant decisiveness from pop-inflected stripes, slapdash and dripping, to wide, sine-wave brushstrokes that gently oscillate in glowing geometric formations.
Contributed by Jonathan Goodman / Caroline Kent, a painter based in Chicago, is having her first show at Casey Kaplan. She makes schematic abstract paintings, which have aspects of doubled, mirror-like imagery. An underlying fiction of her art is the presence of twins, Victoria and Veronica, who speak to each other and to the painter’s audience via the works she creates. Kent’s sign-like abstraction involves a set of symbols whose meaning depends not on any explicitly prescribed content but rather on their visual orientation in terms of form and placement.
Contributed by Jason Andrew / Artists often have generative strategies for jumpstarting a work. The AbExers’ had their automatism and the minimalists had their procedural arrangements. For her new paintings, on display at The Journal Gallery in their rotating “Tennis Elbow” series, Pam Glick seems to embrace both the automatic and the procedural.
Contributed by Jacob Patrick Brooks / I try not to go to galleries alone. If I don’t have someone to moderate me and make sure that I spend an appropriate amount of time viewing work, I can speed through without sufficiently absorbing it, to my own detriment. Yet, even on my own, I was immediately captivated by Andrew Cranston’s deceptively quiet, soft paintings in his current show “Waiting for the Bell” at Karma.
Contributed by Patrick Neal / Is the detectable hand of the artist evidence of a unique creator, or is gesture mainly indicative of earlier painters’ touches, the ghosts of art history? More broadly, do we choose the course of our own lives or are they predestined? These thoughts about individual sensibility and personal agency occurred to me while viewing Alyssa Klauer’s fine, visually and intellectually energized solo show “Dare Me,” on view at Olympia on the Lower East Side.
A conversation between artists Robin Hill and Elisa D’Arrigo, whose solo show at Elizabeth Harris is on view through July 31.
Despite Matthew Wong’s relatively banal subject matter – essentially, nature – the way it is handled in the exhibition on view at Cheim and Read elevates the art and makes it enthralling, like secrets gently whispered.
Carl D’Alvia’s show at Hesse Flatow, “Sometimes Sculpture Deserves a Break,” is a playful, irony-laden take on the hyper-masculine minimalist sculpture canon.
In her new paintings on view at Gold/Scopophilia, Ashley Garrett explores the concept of the meadow: a place of respite, slowed time, and stable form seen through a pinhole into a complete world.