Features
 
Excerpted from monograph on her work published by Hamilton College ...
 
Thomas Hirschhorn, Gramsci Monument, 2013, Forest Houses, Bronx, New York. Courtesy Dia Art Foundation. Photo: Romain Lopez.
…It made me proud to be an artist and a New Yorker ...
 
Ohad Meromi, still from Worker! Actor! Smoker!, 2010-13. Single-channel video, 20:36 minutes. Courtesy of the artist, Galerie Triple V, and Nathalie Karg.
Ohad Meromi’s exhibition at Nathalie Karg continues through August 15. ...
 


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Audrey Niffenegger


“Time is a state: the flame in which there lives the salamander of the human soul.” -Andrei Tarkovsky Chicago-based artist Audrey Niffenegger has always had a strong sense of storytelling: A compelling grasp of contradiction, humor, tragedy, and fantasy permeates the twenty odd years of her visual art career. Her work, an affirmation of Chicago’s…


Jeremy Blake, Reading Ossie Clark, 2003. Six stills from the DVD Courtesy Feigen Contemporary

Notes on Jeremy Blake


Can video become the new painting? Not just in the art scene, where video takes an ever larger slice of the exhibition pie, but in the aesthetic sense as well. “Autumn Almanac,” a recent show by Jeremy Blake at Feigen in Chelsea has me wondering.


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Jon Isherwood


“His sculptures are matrices, in which a mysterious emptiness is embedded” While returning home to Manhattan via Amtrak after my interview with Jon Isherwood I realized that the experience of living with his sculptures for a few hours had transformed my way of seeing natural rock formations. The rocks that occasionally appeared to the sides…


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Roy Oxlade


MR: There is of course always idle speculation on the state of painting as it might relate to the cultural vacuum. One cannot dismiss the fact that painting provides an entertainment for the masses, as do all the other mutant forms of so-called fine art. But its popularity at any given moment is certainly irrelevant. Would…


Mark Lombardi, Charles Keating, ACC, and Lincoln Savings, ca. 1978-90 (5th Version), 1995. Colored pencil and graphite on paper, 31-3/4 x 46-1/4 inches, Collection of Sarah-Ann and Werner H. Kramarsky

Mark Lombardi


Emotional intent is often ascribed to a sensitively rendered line, but to what extent can we say other information – intellect, curiosity, politics – are being transmitted in that same line? Put another way, how much of the spectrum can touch occupy in imparting content to a work of art? The question comes to mind thinking about “Global Networks”, the Independent Curators International exhibition of Mark Lombardi’s work at The Drawing Center in Soho, where twenty-five major drawings by the late artist are currently on display.


Ellen Berkenblit, Pink Flowers on Fence, 2000. Oil on linen, 40 x 36 inches

Notes on Ellen Berkenblit


Ellen Berkenblit has been one of my favorite artists for years. I visited her studio once in the mid-nineties, and have done my best to see her shows whenever possible. A painter of expressionist, hermetic narratives, Berkenblit’s work can be simultaneously colorful, dark, moody, and humorous. With her recurring cast of characters – that include…


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Saul Ostrow


I’m Saul Ostrow’s first official guest in his new apartment, and he’s happy to be cooking for someone other than himself. Saul has just transplanted from New York to become Dean of Fine Arts and Chair of Painting for the Cleveland Institute of Arts. His wife, the painter Shirley Kaneda, helped him move in, having…


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Yvonne Jacquette


Canaletto of the Skies Yvonne Jacquette has had a busy summer. Most of it, as usual, has been spent in Maine – she’s summered in the state since 1954. But there have been trips back to the city to make the final choice of photographs for the definitive book about the work of her late…


Gary Hume, Kate, 1996. Gloss paint and paper on aluminium panel, 82 x 46 inches, Courtesy Jay Jopling/White Cube (London

Kate Moss


Whatever it says in “The Wasteland,” from an art critic’s point of view, August is the cruelest month. Even the lingering group shows, the staple summer fare, peter out in the weeks before Labor Day. After Labor Day, la deluge, but when New York newspapers that usually don’t venture north of 90th Street start to…


Karin Davie, Pushed, Pulled, Depleted & Duplicated #7, 2002. Oil on canvas, 84 x 108 inches, all images courtesy of Mary Boone Gallery

Notes on Karin Davie


Karin Davie at Mary Boone Gallery, New York