Alfred’s note perfect exhibition strips his media images of their usual affect to present the soothing vision of an extreme aesthete
February 26, 2010 at the National Academy Museum and School of Fine Arts, New York Carly Berwick, Michèle C. Cone, and Mario Naves joined David Cohen to review El Anatsui at Jack Shainman, Damien Hirst at Gagosian, Yvonne Jacquette at DC Moore, and Tino Sehgal at the Guggenheim.
Stylistic textures are revealed to be unselfconscious tics without which Steffen cannot construct flesh.
Storms of tiny lines and colored boxes remain powerful statements on their own, even if they were to be completely disconnected from the music they ultimately represent.
The drawings are filled with information and speculation.
Eggleston and Arbus promoted the shared view that no subject is uninteresting when captured a compelling way.
Bronstein appears to want to draw classical buildings as though he were at work in a perpetual ancient regime.
Corio brings a hard-earned sense of humor and mischief to abstraction rooted in the phenomenology of optical sensation, a branch of contemporary art not exactly known for big laughs.
The best works are vibrant and fun, and show the chops of a painter who takes delight in straightforward, rambunctious picture making.
Linda Cross at the James W. Palmer Gallery, Vassar College and the Beacon Institute of Rivers and Estuaries
She doesn’t paint so much as build her pictures…they seem to convey the reality of water stopped up with manmade detritus.