John Goodrich



More Articles by John Goodrich


Brett Bigbee, James, 1999-2001. Oil on canvas, 47-3/4 x 22-1/2 inches. Courtesy of Alexandre Gallery

Triggering the Ingres Reflex: Brett Bigbee, His Powers and His Intentions

Monday, January 2nd, 2012

The recent overview of his paintings and drawings was at Alexandre Gallery


radell-cover

Learning to Look: “Nature is the Teacher” at the Painting Center

Wednesday, March 9th, 2011

February 2011 exhibition featured Simon Carr, Stanley Lewis, Thaddeus Radell, and Deborah Rosenthal.


Stuart Shils: Recent Paintings at Tibor de Nagy Gallery and John Dubrow: Small Landscapes at Lori Bookstein Fine Art

Saturday, February 7th, 2009

The exhibitions of Shils and Dubrow overlapped by only a couple days, just enough to allow fresh comparisons between the two. Their differences intrigue: could it be that Shils seeks evocative means of representing, while Dubrow peruses the workings of representation itself?


Max Weber: Paintings from the 1930s, 40s, and 50s at Gerald Peters Gallery

Monday, December 1st, 2008

Woman Holding Tablet (1946) pleasingly and convincingly locates a seated figure within a geometric environment, with ochre tints and warm blacks set deftly against notes of bright coral and medium blue. The rather strenuous engineering of the pose and surroundings, however, give the impression of an exercise – a demonstration of the plastic re-creation of a generic event.


Louisa Matthiasdottir: Selected Paintings at Tibor de Nagy Gallery

Sunday, November 9th, 2008

Throughout this retrospective selection of her work, one senses in Matthiasdottir a luminous reserve – a private temperament joyfully submitting to an exacting task. We’re rewarded with extraordinary evocations of the observed.


Ying-Li, Jim, 2007. Charcoal on paper, 30 x 23 inches. Courtesy of the Artist

Ying Li at the Painting Center

Friday, November 7th, 2008

Ying Li at the Painting Center


Peter Heinemann: Bluebird

Sunday, June 1st, 2008

Heinemann’s intensity, always apparent in his incisive, schematized shapes and hues, now describe with awkward purposefulness the trappings of rustic life: still lifes of dry good scales, vases, and lawn ornaments, and outdoor scenes populated by bird feeders and flower gardens – and, most notably, by the cats which by turns resemble inert, furry spheres or rocketing pillows with lethal teeth.