A “pink lady” is a cocktail made with gin, Grenadine, cream and egg white—the gin packs a punch masked by the more ladylike ingredients. The punch in this painting lies in how its image, suggesting (among much else) an orchid and a human heart, boils upward and outward, from its slate-blue core through the billowing peach and fuchsia of its sides to the splattering blast of blue and reds at the top.
Much of Winsor’s originality derives from her enigmatic yet evocative treatment of form, which conceals as much as it reveals.
Miguel Trelles at the Gabarron Foundation Carriage House Center for the Arts
Throughout this retrospective selection of her work, one senses in Matthiasdottir a luminous reserve – a private temperament joyfully submitting to an exacting task. We’re rewarded with extraordinary evocations of the observed.
Mary Heilmann: To Be Someone at the New Museum and Mary Heilmann: Some Pretty Colors at Zwirner & Wirth
Heilmann often seems be daring herself to do something truly “awful”—only to find beauty in it…The accumulated brushmarks and open drips make her act of painting transliterate into a kind of crime of passion.
We need to understand properly the Americanness of Abstract Expressionism, without treating it either as a triumph of chauvinistic mythmaking or as an episode in the Cold War.
Baker Overstreet at Fredericks and Freiser
This adventurous photography survey, pairing historical and contemporary examples of sculptural construction and assemblage as subject matter, includes David Smith, László Moholy-Nagy, Peter Fischli & David Weiss, James Welling, Gregory Crewdson, Thomas Demand and Wolfgang Tillmans.
Just as many Matisse drawings and paintings made in Nice in the 1920s and 30s incorporate a representation of himself making the work of art, so Miller includes images of his working space in his landscapes. The effect is to bring us into the working process.