The French-German abstractionist’s first New York show since 1975, up through December 30
at Derek Eller Gallery until August 13
Reinterpreting Flavin’s purist experiments with light within the medium of oil on linen enables Mosse to describe the moment when color becomes something as indefinable as light.
Jensen is in some ways a reticent painter, removing all signs of a brushstroke. His quietness, though, becomes something else when one regards the casual mastery and expressiveness of color in much of his art.
The drawings are filled with information and speculation.
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.
Carroll Dunham’s rough canvases, tilting toward aggressive sexual assertion and actions of near anarchy, are catchy tunes of hipster malice.
Laib sees his art as having a political dimension, in the sense that the production of cultural artifacts change people and institutions.
If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.
Saving the imagery from what we might call barbarous chaos is Penck’s highly skilled orientation and spacing of the visual components of an individual work.