Writings by Stephen Maine

Dawn Clements, Ruin, 2009. Sumi Ink on Paper, 143 x 116 inches. Courtesy of Pierogi 2000

Dawn Clements at The Boiler (Pierogi)


One senses that drawing is how Clements comes to grips with her surroundings, whether those stimuli are constructed, imagined or discovered.


John Himmelfarb, Mesa 2009. Unique bronze, 14 x 42-1/2 x 30 inches. cover MARCH 2010: Knowledge 2010. Unique bronze, 27 x 31 x 22 inches. All images courtesy Luise Ross Gallery.

John Himmelfarb at Luise Ross Gallery


February 18 to April 17 511 West 25th Street, between Tenth and Eleventh Avenues (212) 343-2161 The veteran Chicago painter and printmaker John Himmelfarb has recently turned to sculpture in a variety of mediums.  Several delightful examples of his foray into the third dimension are now on view in a rousing show entitled “Geared Up,”…


Paul Corio, Toga Tiger 2009. Acrylic on canvas, 60 x 60 inches. Courtesy of the Artist.

Paul Corio at 210 Gallery


Corio brings a hard-earned sense of humor and mischief to abstraction rooted in the phenomenology of optical sensation, a branch of contemporary art not exactly known for big laughs.


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Rosemarie Fiore: Pyrotechnics at Priska C. Juschka Fine Art


The artist’s material of choice is live fireworks, or rather the tinted smoke, made of fine particles of organic dyes, that color their familiar, ordinarily airborn explosions.


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David Diao: “I lived there until I was 6…” at Postmasters


For decades, Diao has injected deeply personal, even confessional content onto the placid surfaces and into the untroubled spaces of Modernism by way of a formal vocabulary grounded in the conventions of presentation diagrams, plans, text. The new work retains its erstwhile formal elegance and restraint, but rueful humor is replaced by a seething emotional undertow stemming from the artist’s inherited memories of his family’s displacement and fragmentation at the hands of the Chinese government.


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R. H. Quaytman: chapter 12: iamb at Miguel Abreu Gallery


Quaytman works in a mode of painting/silkscreen hybrid, an at once middle-brow and mass-produced liminal form that is ideologically adrift between the elite and the unique in a way that recalls Warhol. The show quietly crackles with ideas about production; perception and legibility; the nature of the “image;” and the play between painterly and photographic values.


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Daniel Hesidence: 1779 / Pedestrians at Feature Inc


The artist softens his vigorous brushwork using a blending brush, a staple of the realist painter’s tool kit, relying too heavily on an admixture of white to sidestep the chromatic muddiness that would otherwise ensue. In places this unexpected technique imparts a smeary appearance, while elsewhere the forms are so hairy-looking you want to take a big comb to them.