criticismExhibitions
 
These paintings convey nature’s immensity even as they mangle its topography. ...
 
Munro Galloway, 65” x 47.5” (What We Talk About When We Talk About Donuts), 2014. Oil, acrylic and inkjet on canvas, 65 x 47 1/2 inches. Photograph by John Berens,  courtesy of the artist and Soloway Gallery.
Galloway show’s his head-hand coordination. ...
 
Samuel Fosso, Le chef qui a vendu l’Afrique aux colons, 1997. C-print, 101 x 101 cm. Courtesy of the Walther Collection.
Fosso challenges visions of African identity through self-portraiture. ...
 


Elizabeth O'Reilly, White Boat, White House, 15" x 15", oil on panel, 2012. Courtesy George Billis Gallery.

Presence, Absence, and Light in the Paintings of Elizabeth O’Reilly


Gothic New England charm with echoes of Monet and Whistler, through November 16


Matthew Craven, Stare, 2013. Mixed media on found paper, 51 x 37-3/4 inches. Courtesy of DCKT Contemporary

Dodgy Anthropology But Formally Engrossing: Matthew Craven and the Ancient World


His show was as DCKT Contemporary


Fran Siegel, detail of Navigation, 2010-2011, colored pencil, ink, and cyanotype on cut and folded papers. 116 x 116 x 4 inches. Courtesy of the artist and Lesley Heller Workspace.

Mapping the City: Fran Siegel at Lesley Heller Workspace


Glimpses of anonymous buildings, vacant lots, parking lots, and the distant mountains


Jana Winderen, Disco Bay, 2007, field photograph, Greenland. Courtesy of the artist.

Imperfect Pitch: In Search of Sound at MoMA


The museum’s first show dedicated to sound art is up through Nov 3


David Hammons, Spade (Power to the Spade),1969, Body print, pigment, and mixed media on paper, 53 1/4 x 35 1/4 inches. Collection of Jack and Connie Tilton, New York. On view at Grey Art Gallery, NYU.

Radical Bodies at Grey Art Gallery


A two-part exhibition tells the story of black performance art in the 20th century


Bjorn Copeland, Remnant Screen IV, 2013. Courtesy of Jack Hanley Gallery, New York

Failing Better: Bjorn Copeland at Jack Hanley


“a Bushwick flaneurial revelling in oddball sidewalk finds”


William Kentridge, Whichever Page You Open, 2013. Drawing, India ink on Craggs Universal Technological Dictionary, 1826, 80-3/4 x 82-5/8 inches. Courtesy of Marian Goodman Gallery

Old Forms For New Uses: William Kentridge at Marian Goodman and the Met


“He works with archaic materials using self-imposed limitations”


Installation view: Aldo Tambellini, We Are The Primitives Of A New Era at James Cohan Gallery, 2013. Photographer: Bill Orcutt

Spooky and Luscious: Aldo Tambellini at James Cohan


Reconstructed environments of pioneering cameraless films prefigure upcoming MoMA screenings


Installation view featuring (on the right) Nine Cosmic CD’s: For The Firespitter (Jayne Cortez), 2013, acrylic on canvas, 45h x 137.5w inches. Courtesy Alexander Gray Associates, New York.

Cosmic Put-on: Notes on Jack Whitten


Paintings of the 4th dimension


Anne Truitt, Second Requiem, 1977/1980. Acrylic on wood, 84 x 8 x 10 inches. Courtesy of Matthew Marks Gallery

Finding a Place: Anne Truitt from the 1970s at Matthew Marks Gallery


A true independent with a pastoral sense of existing within a landscape