Abdessemed’s show is an exhilarating introduction to his work as the artist’s “acts” (as he calls his works) have a truly visceral resonance for every viewer. Yet, the show suffers from the ubiquitous interests of the artist, his “fascination with the world” as he himself identifies it.
The problem with late Picasso has to do with his stubborn insistence on diaristic expressionism increasingly isolated from changing times.
Freilicher’s work becomes tighter over time, but the spirit of chance encounter remains.
By relaxing conventional standards of realistic description, Hynes makes her images immediately accessible to the mind and its fluctuations of mood, and enables herself to explore the modernist vision common to the painters that inspire her
Goldberg navigates directions between abstraction and referential drawing. Most of his imagery is rooted in the organic and yet conglomerates of patterned forms can establish structures that hint at geometric organization.
Fishman had been asking very specific things of her chosen medium: how does one make it relevant to oneself and one’s history? How does one possess it? How do you filter your experiences through it?
Brilliantly colored, covered with decorative motifs and gestural abstractions, the work suggests a gorgeous manuscript, a place where the politics of place and the pain of indifference no longer exist.
Linda Francis, Don Voisine, Joan Waltemath, Michael Zahn at Janet Kurnatowski Gallery, and Jennifer Riley: To Be A Thing In This World at LaViolaBank Gallery
In each picture, there is a sense that the overt structure is a kind of plan for the making of the work, while the work is the exposition of that plan. But, at the same time, the work is more than its own plan.
The complications of scale bring about violent contrasts and juxtapositions, many of which make little evident sense; this is, I think, a metaphor for the anarchy of war, as well as the dishonesty that provided moral cover for those politicians who originally wanted to invade Iraq.
Like some earlier Guggenheim exhibitions, Mark Rosenthal’s 1996 splendid, mindless history of abstraction and the more recent survey Russia! are two examples, The Third Mind presents much great art without a convincing visual premise.