The ensemble represents a series of very carefully thought-out painting decisions — yet never do the results look cold or calculated.
Gillick’s show is cerebrally engaging and visually interesting, but the visual and cerebral components never coming together to form a layered experience.
Jensen is in some ways a reticent painter, removing all signs of a brushstroke. His quietness, though, becomes something else when one regards the casual mastery and expressiveness of color in much of his art.
Sometimes Fudge seems to be searching for hidden sweet spots in the harmonics of recognition.
There’s an internalized severity to her art; its fierce angularity suggests an appetite for sensual abandon constrained by geometry, argues HEARNE PARDEE
February 18 to April 17 511 West 25th Street, between Tenth and Eleventh Avenues (212) 343-2161 The veteran Chicago painter and printmaker John Himmelfarb has recently turned to sculpture in a variety of mediums. Several delightful examples of his foray into the third dimension are now on view in a rousing show entitled “Geared Up,”…
February 17 to March 27 511 W 25TH Street, Second Floor New York City, 212 989 0156 Clouds and shrubbery, water and air have long been insinuating themselves into Louise Belcourt’s lusciously brushed color fields that otherwise can seem bequeathed from Friedl Dzubas or Helen Frankenthaler. Belcourt raises the stakes of this mingling of painting…
Jerry Saltz Book Review
Stylistic textures are revealed to be unselfconscious tics without which Steffen cannot construct flesh.
Storms of tiny lines and colored boxes remain powerful statements on their own, even if they were to be completely disconnected from the music they ultimately represent.