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.
During my first visit to Daniel Wiener’s studio, we talked about his Apoxie-Sculpt head series that fuse a 1960s psychedelic sensibility with collective angst, his idiosyncratic process, and an exploration of other unusual projects during the lockdown.
Contributed by Sharon Butler / In September 2012, I sat down with Louise Fishman in her cozy but austere 23rd Street apartment to discuss her two current exhibitions: “Five Decades,” a 50-year retrospective at Tilton Gallery (September 5 – October 13), and “Louise Fishman,” at Cheim & Read (September 13 […]
To understand how all the moving parts or art careers fit together, sociologist Hannah Wohl spent countless hours trailing collectors at art fairs, talking to dealers, making studio visits with artists at all professional stages, and analyzing hundreds of art reviews.
A conversation between artists Robin Hill and Elisa D’Arrigo, whose solo show at Elizabeth Harris is on view through July 31.
Scene + Sensoria will be a regularly occurring project of capture, of both the social and aesthetic dimensions of the New York art world, towards an ecological understanding of the scene as a living coral reef; these sensorial guided tours of affect, chance, and embodied presence will be relayed as […]
All three tales in Super Host are witty, moving, and beautifully written, but it’s Emma Easton’s that raises the most provocative questions about the often torturous relationship between an artist and her work
Combining the roles of curator and participating artist, Zak Kitnick, in collaboration with gallery director Meredith Rosen swept an engaging mix of genres into a pair of compact exhibition rooms matching their choices to an installation plan that emphasizes each piece’s distance from the floor relevant to the human body.
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.