Thursday, September 17th, 2015
Ogden’s work leverages anxiety and excitement, brush on canvas, as pain’ing. ...
Monday, August 24th, 2015
Installation view of work from The 15th Annual Summer Apprenticeship Program at Artspace, 2015. Photograph by John Groo.
An exhibition and its extracurricular programming explore artistic representations of mass incarceration. ...
Monday, July 6th, 2015
Installation view of "Acting On Dreams" at Franklin Street Works, 2015. Courtesy of Franklin Street Works.
A group show explores the use of art in social justice activism, collective action, and the aesthetics of politics. ...

Monday, March 3rd, 2008


Bingyi Huang at Max Protetch

Given Huang’s indirectness, we experience the scene as if imbued with symbolist forms, which reveal their meaning only fleetingly. Yet the painting does not feel deliberately obscure, but rather poses the question, How much must be revealed before the images makes narrative sense?

Saturday, March 1st, 2008


Rackstraw Downes at Betty Cuningham and Greg Lindquist at Elizabeth Harris

Downes paintings reflect a unique combination of aggressive conception and passive elaboration. Fervent perceptions of space enliven their broad outlines; details follow, filling in the story of each site exactly “as is.” Colors add atmosphere and light.

Saturday, March 1st, 2008


Successive Approximation: Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn and Robin Rhode

Too often group exhibitions, especially those that mix together young artists and famous figures, fail to reveal elective affinities. This tight small show, however, revealed that these nine very different looking works of art all shared a genuine concern with successive approximation. And in doing that, it also displayed the totally unexpected relationship of these contemporary works of art with the traditions of old master painting.

Saturday, March 1st, 2008


Juan Usle at Cheim & Read and Silvia Bachli at Peter Freeman, Inc.

Despite different approaches towards scale, texture and color, a common attitude pervades each artist’s style that isolates a cool tension between involvedness and restraint.

Saturday, March 1st, 2008


Diana Puntar: Lived Live Evil Devil at Oliver Kamm/5BE Gallery

Their biomorphic qualities are undermined by the fabrication process, but this increases the sense of otherness they generate. They suggest imaginary beings that are not the product of fantasy, but rather of imaginative speculation on the real but unknown.

Thursday, February 7th, 2008

William Kentridge, What Will Come, 2007. Courtesy of Marian Goodman Gallery

A Surfeit of Genius: William Kentridge at Marian Goodman Gallery

Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified

Wednesday, February 6th, 2008


Lisa Robinson: Snowbound at Klompching Gallery

Although Robinson’s snowscapes recall the nineteenth-century Arctic exploration that captured America’s imagination, her work also conjures our 21st-century fear of natural disaster—that nature will reclaim the manmade landscape by our own disregard for the environment.

Sunday, February 3rd, 2008


Alan Saret at the Drawing Center, Richard Pousette-Dart at Knoedler

Physical gesture means the artist’s hand is present yet transcended: there is no question that the arcs or circles are handmade, but an unforced, lyrical all-overness creates a cosmic, suprapersonal sense of order and well-being.

Sunday, February 3rd, 2008


Katy Grannan at Salon 94 Freemans and Greenberg Van Doren; Lina Bertucci at Perry Rubinstein

There is a pervasive ambivalence in Katy Grannan’s portraits: the gaze that returns the viewer’s is a mix of coyness and exhibitionism. The images themselves oscillate between similar extremes, building a visceral sense of the present through precision while succumbing to a remoteness that results from theatricality.

Tuesday, January 22nd, 2008


Alberto Burri at Mitchell-Innes & Nash

However raw and rude his torn, scorched and crudely sewn-together burlaps, his molten plastics, or his randomly cracked ceramics might have been, he was a consummate aesthete, incapable — seemingly — of inelegance. In the case of Italian artists, the national stereotype happens to be true — they have a Midas touch with beauty, even when they are attempting to convey poverty, trauma or angst.