The odd juxtaposition of these common objects with an abstract formal language gives the work social dimensions and sensual qualities.
There is a palpable tension evoked in watching the crystalline visage of Nancy Reagan struggle for clarity against the loosey-goosey stained canvas.
The exhibition is a small testament to the efficacies of the late modernist project.
Trying to fail has played a major role in the work of Albert Oehlen.
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.
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.