Drew Lowenstein

More Articles by Drew Lowenstein

Lawrence Beck, Marlia I, 2010. Archival pigment print mounted dibond, 60 x 73 inches. Courtesy of Sonnabend Gallery

Wish We Were Here: Lawrence Beck and the Grand Tour

Monday, February 18th, 2013

“Italian Pictures” was a Sonnabend

Charles Andresen, Densities of Intensities, 2009. Acrylic on canvas, 38 x 33 inches. Courtesy of Guided by Invoices

Blobs, Under the Radar: Charles Andresen at Guided by Invoices

Wednesday, November 30th, 2011

Inaugural show at Chelsea’s latest gallery showcases eccentric abstractionist.

Carrie Moyer, The Tiger's Wife, 2011. Acrylic on canvas, 60 x 48 inches. Courtesy of CANADA

Cherry Bomb to Cherry Blossom: Carrie Moyer at Canada

Sunday, October 2nd, 2011

Her Lower East Side show, titled Canonical, extended through October 23

Charles Burchfield, An April Mood, 1946–1955, Watercolor and charcoal on joined paper, 40 × 54 inches, Courtesy Whitney Museum of American Art, Purchase, with partial funds from Mr. and Mrs. Lawrence A. Fleischman

A current of his own: Charles Burchfield at the Whitney

Friday, September 3rd, 2010

Heatwaves in a Swamp: The Paintings of Charles Burchfield is at the Whitney until October 17

Steve DiBenedetto, Untitled 2008. Oil on canvas, 36 x 24 inches

Morphological Mutiny: Steve DiBenedetto, Alexander Ross and James Siena at David Nolan Gallery

Thursday, January 21st, 2010

Dibenedetto, Siena and Ross have defined an architectural endoskeleton within the body of the biomorph.


Broken Flowers and Grass: Nature and Landscape in the Drawings of Anselm Kiefer at the Metropolitan Museum of Art

Wednesday, July 1st, 2009

Kiefer is a complicated independent, one who adopts the revanchist Neo Expressionist mode of his peers, yet embraces and exposes the repressed and tangled complexities of German life.

The Unknown Blakelock at the National Academy Museum

Thursday, December 4th, 2008

In addition to his spontaneous brushstrokes, Blakelock explores a decalcomania-like technique of load, press, smear, and lift. This emphatically material-based process creates a raised, textural web of paint activity with a few scattered reds, oranges and yellows flecking a surface that is eerily similar to Jackson Pollock’s and as interesting to ponder.