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.
The consequences of Van Wieren’s style allow for simultaneous readings of her art.
Joffe is not a perfectionist. Instead, she is intent on capturing a moment in time, not with a photographer’s precision, but as a painterly tableau.
One of the most interesting aspects is Azami’s negative capability: her technique demonstrates a willingness to expunge the self in favor of a poetic exactitude of description.
A persistence of hard-edged nonobjective painting shows the lineage of modernism hanging on, even if only by the fingernails.
Her aphorisms are generalizations with political intent.