Eggleston and Arbus promoted the shared view that no subject is uninteresting when captured a compelling way.
Bronstein appears to want to draw classical buildings as though he were at work in a perpetual ancient regime.
Corio brings a hard-earned sense of humor and mischief to abstraction rooted in the phenomenology of optical sensation, a branch of contemporary art not exactly known for big laughs.
The best works are vibrant and fun, and show the chops of a painter who takes delight in straightforward, rambunctious picture making.
Linda Cross at the James W. Palmer Gallery, Vassar College and the Beacon Institute of Rivers and Estuaries
She doesn’t paint so much as build her pictures…they seem to convey the reality of water stopped up with manmade detritus.
With Zhang’s Rulai one senses the conflicting elements of life and death within the gray ash.
Transgressive, experimental, fiercely individualistic, Man Ray evaded any categories not of his own creation.
In a Catch-22, artists cannot sell their work, but they also cannot afford to “waste” materials on work that is not for sale.
Among thirteen tapestries commissioned from contemporary artists, the most interesting are those in which the medium adds a level of meaning to the image.
“His ambition,” Moore-McCann concludes, “is nothing less than a transformation of thinking, looking beyond material objects to underlying systems of belief”