Writings by Hearne Pardee

Catherine Lee, Ivory Sahara (Quanta #1), 2011. Oil on canvas, 54 x 54 inches. Courtesy of Galerie Lelong

“A Yellow Patch of Wall”: Catherine Lee at Galerie Lelong

Her Quanta series injects the grid with measured sensuality.

installation shot of the exhibition under review with Thomas Scheibitz, Standard, 2011, MDF, wood, vinly, lacquer and spray paint, 55-1/2 x 26-3/4 x 5-1/8 inches, to right, and A Panoramic VIEW of Basic Events, 2011 [details in preceding slide] to right. Courtesy of Tanya Bonakdar Gallery

From Bauhaus to DNA: Thomas Scheibitz at Tanya Bonakdar

The German artist’s exhibition continues through February 18

George McNeil, Landscape Motif, 1968. Oil on panel, 13 x 16 1/8 inches. Courtesy of Ameringer, McEnery, Yohe.

Paintings You Can Jump On: George McNeil in the 1960s

He aspired to be “completely sensate” – spontaneous, but with long periods of revision


Teller of Tales: The Loquacity of Philip Guston

Reviews his collected writings, edited by Clark Coolidge, and a study of the late works by poet David Kaufmann.

Peter Campus, Fishing Boats at Shinnecock Bay, 2010. still from the video installation, Calling for Shantih, 2010. Courtesy of Cristin Tierney.

The Surrogate Eye: Peter Campus’s new videos

On view at Cristin Tierney until December 18

Mercedes Matter, Tabletop Still Life, ca. 1936. Oil on canvas, 43 x 48 inches, Private collection, Florida.

Mercedes Matter at the Weisman Gallery, Pepperdine University

There’s an internalized severity to her art; its fierce angularity suggests an appetite for sensual abandon constrained by geometry, argues HEARNE PARDEE


Jane Freilicher: Changing Scenes at Tibor de Nagy Gallery

Freilicher’s work becomes tighter over time, but the spirit of chance encounter remains.


Frances Hynes: North Light: Recent Paintings at June Kelly Gallery

By relaxing conventional standards of realistic description, Hynes makes her images immediately accessible to the mind and its fluctuations of mood, and enables herself to explore the modernist vision common to the painters that inspire her


Al Held: Paintings, 1979-1985 at Paul Kasmin Gallery

The interplay of colors and contrasting directions endows the open spaces with their own specific movements. The entire composition is cropped cinematically to add implied drama to what can only be called a scene.