archive of pic of the day entries

NATALIE EDGAR

Ether Zone, 2009. Oil on canvas, 51 x 61 inches.

On view as part of the artist's exhibition at Woodward Gallery through Saturday (133 Eldridge Street between Broome and Delancey on the Lower East Side of New York). Edgar's new paintings, according to Judd Tully, writing in a catalogue essay, evolve from plein air watercolor sketches made in Tuscany, though "the true labor begins in her New York studio where the imported impressions are gradually transferred, recalibrated, edited and transformed into...a jazzy, free-style, push-pull tension of color-charged marks."

CHARLES PARNESS

Charles Parness Sometimes the Yoni Gets Angry with the Lingham 2007. Oil on canvas, 78 x 60 inches. Courtesy of the artist

On view at the National Academy as part of the 185th Annual Invitational Exhibition of Contemporary American Art, through June 8. Parness was winner of the Harry Watrous Prize for Painting. Other winners this year were Richard McLean, Elisa Jensen, Richard Raiselis, Dana Schutz, Richard Van Buren and Chuck Holtzman.

MARY McQULLAN

Untitled Photogram (Small Spiral/ Counterclockwise), 2009. Unique silver gelatin print, 8-1/2 x 10-3/4 inches.

In a statement quoted in her press release, McQuillan writes: "I began making cameraless photographs four years ago, but instead of recording the outline of an object, I am capturing the shadows of many-layered drawing: the lines themselves, as they fall for an instant on the paper... I don't believe it's necessary to sacrifice working by hand to create work that reflects an interest in the way different technologies have changed the way we see the world. Ideally, while abstract, my work references the cosmic, the mundane, the optical, the actual and the virtual all at the same time."

LISA ABBOTT-CANFIELD

click image to enlarge

Untitled 2008-10. Oil on canvas, 24 x 24 inches, on view from Friday at the artist’s second solo show at Jason Rulnick, Inc. 230 Fifth Avenue, Suite 809, at Madison Square.

Abbott-Canfield’s purist aesthetic is marked in equal measure by rigor and directness. Her irregular geometric shapes seem lovingly intuited while her surfaces and edges are clean though insistently hand-made. Her stark color choices impart a sense of having been independently arrived at in each image rather than being an across the board reductive decision. DAVID COHEN

PICS OF THE FAIRS

DIANA AL-HADID

Diana Al-Hadid Actor 2009. Wood, polystrene foam plaster, polymer gypsus fiberglass, aluminum foil, silverleaf, paint, 90 x 84 x 44 inches, on view with Galerie Michael Janssen, Berlin at the Armory Show

CATHERINE MURPHY

Catherine Murphy Knot 15 2010. Oil on canvas on board, 20 x 16 inches. Murphy's new series that debuts in a solo show at Knoedler & Company's stand at The Armory Show: Modern, opening Wednesday.

February 2010

FRANK BOWLING

Thank You Graham Mileson, 1987
Acrylic on canvas, 70 x 27-1/2 inches.

on view at Anita Shapolsky Gallery and Art Foundation, 152 East 65th Street on the Upper East Side, as part of the exhibition, African American Abstract Masters, curated by Dr. Mary Anne Rose and presented in celebration of Black History month. The exhibition also includes works of Betty Blayton, Ed Clark, Herbert Gentry, Bill Hutson, Sam Middleton, Joe Overstreet, Thomas Sills, Merton Simpson and Frank Wimberley. The poster for the exhibition poses two blunt and provocative questions: Do you know these people? Why not? Through April 24.

January 2010

GIAMBATTISTA TIEPOLO

on view through Tuesday evening, February 2 as part of an exhibition of Master Drawings and Paintings organized by Jean-Luc Baroni of London, at Carlton Hobbs, 60 East 93rd Street between Madison and Park avenues on New York's Upper East Side, 212 423 9000. click image to enlarge

The auctions last week of old master prints and drawings brought a slew of fringe exhibitions to New York, including Jean-Luc Baroni's display at Carlton Hobbs, where the stand-out work, arguably, was this Flora by Tiepolo. Believed to be among the group of works commissioned by Elizabeth of Russia, it has been kept in a family chateau in France since at least the 19th Century, for much of the time in the attic. Also in attendance for her New York outing were an exquisite oil sketch portrait by Jean-François Millet, possibly of the artist's sister, and a portrait by Hugh Douglas Hamilton of the sculptor Antonio Canova.

CATHERINE HOWE

on view in the artist's solo exhibition at Lesley Heller Workspace, 54 Orchard Street, between Grand and Hester streets on the Lower East Side, telephone 212 410 6120, until February 28

The artist writes in a statement about her show:
This new series of works resemble still lives, portraiture, or landscapes. They are all bound to the story of Proserpina, the innocent maiden abducted by Hades and whisked away to a winter in hell. It must have been hot down there. She becomes a perfect vehicle for my fantasy of unburdened female beauty and power. Her abduction may not have been so tragic if we view it as a respite from the ravages of time and custom. She dwells in the underworld with an abundance of pleasure and immortal love. The world above is barren.

WARREN ISENSEE

Untitled 2008. Colored pencil on paper
image: 11-1/8 x 18 inches; paper: 21 x 30 inches. Click image to enlarge

on view from Thursday at Danese, 535 West 24th Street between 10th and 11th avenues, telephone 212 223 2227 as part of their forty artist exhibition, Works on Paper, through February 6

JOHN ZINSSER

Sperone Westwater Fischer Gallery (1976) 2009. Colored pencil and graphite on paper,
18 x 12 inches - click image to enlarge

On show in the artist’s solo exhibition at James Graham & Sons, John Zinsser: Art Dealer Archipelagoes, through January 5. Zinsser, who contributes to artcritical and has participated in the Review Panel, is an abstract painter whose second show at Graham represents a striking departure from his more familiar form. Dominating the installation is a set of maps in which New York commercial galleries, from particular historic moments, are rendered as imaginary island states and their stable of artists as cities. “My take isn't ironic,,” Zinsser remarks. “It reflects a 25-year love affair I've had with New York galleries and their exhibitions. There is something inherently funny about the whole undertaking, the groupings, the borders and implied territories – and a sense of the larger triumph and pathos, those artists who made it and those who didn't. An unwritten history here assembles itself–as an amorphous and ultimately felicitous geography.”

December 2009
NORBERT SCHWONTOWSKI

Musée des Arts 2009
Oil on canvas, 39 x 36 inches

On view at the artist's solo exhibition at Mitchell-Innes & Nash
through January 9,
534 West 26th Street, New York
212 744 7400
click image to enlarge

December 2009
PIC OF THE FAIRS

DION JOHNSON

Dion Johnson Mercury 2009
Acylic on canvas, 60 x 40 inches

on view with Rebecca Ibel Gallery at PULSE MIAMI, Booth E-100, The Ice Palace, 1400 North Miami Avenue, through Sunday, December 6

GREELY MYATT

Greely Myatt Fond Farewell 2009
Aluminum and aluminum signs, 66 x 60 inches

on view with David Lusk Gallery at Art Miami, Booth B8, NE 1st Street at 32nd Street, through Sunday, December 6

RICHARD FORSTER

Richard Forster Twelve seconds of train journey from Saltburn on Sea on twelve consecutive days, drawn and modeled (a rehearsed inability to know this (un)place) 2009.
12 drawings, pencil on card, framed in oak, & a model, pencil on gessoed wood, on an oak and steel table). One drawing shown - click image to see installation

on view with Ingleby Gallery, Edinburgh at Art Basel Miami Beach, Booth J39 at the Miami Beach Convention Center, through Sunday December 6

November 2009

Birds (Vermeer), 1970
Collage, 12-½ x 8-¾ inches

on view at Pavel Zoubok Gallery as part of the Czech poet and collagist's exhibition, The Poetics of Silence, through December 19. Birds is also apropos as pic of the week in these last days of the Metropolitan Museum's exhibition, Vermeer's Masterpiece: The Milkmaid, which celebrates the loan of a gallery-mate of this painting from the Rijksmuseum, Vermeer's Woman Reading at Letter.

November 2009
SYLVIA SLEIGH

Joachim Neugroschel 1970
Oil on canvas, 38 x 18 inches
Courtesy I-20 Gallery

on view through January 9, 2010. Now in her nineties, British-born painter Sylvia Sleigh is enjoying a revival of attention with her quirky realism and astute sense of the personality and the sexual energy of her times. She was included recently in the show, Ingres and the Moderns, at the National Gallery in Ottawa as well as Wack! Art and the Feminist Revolution, the nationally toured exhibition originating at LA Moca. Her portrait, above, of the illustrious, award-winning translator from the German, French, Yiddish and Russian Joachim Neugroschel (whose work is also well-regarded in art circles) combines the piercing verisimilitude of Christian Schad with a distinctly un-Neue Sachlichkeit tenderness.

November 2009
DAVID KAPP

click image to enlarge

Walker, 2009 , oil on linen , 24 x 18 inches, is on view at the artist's exhibition of large cityscapes at Sideshow, 319 Bedford Avenue, Williamsburg, through November 15. Kapp's breezily robust painterly observations capture the frenetic optimism of a city in motion. He also has a show of new paintings at Alpha Gallery, Boston, from November 7 to December 9, 2009.

November 2009
LEON POLK SMITH

Untitled, 1968, acrylic and graphite on paper, 19 x 8-3/8 inches, on view as part of the exhibition, Leon Polk Smith: A Constellation with Works on Paper at Washburn Gallery through October 31, 20 West 57 Street, between Fifth and Sixth avenues, 212 397 6780

October 2009
CARL PLANSKY
1951-2009

Montserrat Caballé, 1995.
Oil on linen, 84 x 72 inches.
Courtesy the Artist and Fischbach Gallery
click image to enlarge

Last weekend, a week before the close of his exhibition at the New York Studio School, Carl Planksy died of a heart attack while driving to his home in upstate New York. Planksy was best known for his painterly, expressionistic landscapes and still lifes worked from life in exuberant brushstrokes and rich colors. His show at the School, however, where he had studied and also taught, marked something of a departure. In giant portraits of operatic divas his style extended into highly personal subject matter. The portrait of Joan Mitchell, the one art world diva among this show of opera stars and the earliest painting on view, was painted from the corner of his eye, surreptitiously, in the Abstract Expressionist’s Paris studio. A portrait of Aprile Millo, now in that singer’s private collection, was worked from photographic sources, which was rare for him. (The legendary soprano is slated to sing at Plansky’s memorial at the School this Sunday.) For the rest of the portraits, however, Plansky was bizarrely true to his commitment to working from life – even though the singers were not accessible to him. For some he used models as stand-ins, in combination with historic reference materials. Eleanor Steber is posed by the late Grace Hartigan and Maria Callas, in mutliple portraits, by a former student of Plansky’s named Ülgen Semerci. Using a Turk to portray a Greek prepares the viewer for the boundary crossing of his Monserrat Caballé and Anita Cerquetti portrayals: for these legends of the operatic stage the burly, bearded Plansky self-enlisted as the stand-in, shaving and draping himself in curtains. It was a gesture that befits a man whose every move in art and life was fearless in its quest for fullness of truth.

DAVID COHEN

Through October 18, 8 West 8 Street, between fifth and sixth avenues; memorial, Sunday at 3pm

October 2009
JOE BRAINARD

Untitled (Madonna) 1969
Mixed media collage
14 x 11 inches

on view at Adam Baumgold, 60 East 66 Street, (212) 861-7338, through Saturday (October 10) as part of the exhibition of Brainard's work that also includes his 1978 sketchbook collaboration with David Lehman and his Miniature series, from 1975, of 109 works in collage, assemblage, and drawing, each measuring no more than two by two inches.

September 20 to October 4, 2009

FRANK STELLA

K.37 (lattice variation) 2008.
Protogen RPT with stainless steel tubing, 56 x 35 x 28 inches.
On view from October 1st at
Paul Kasmin Gallery
click image to enlarge

“Just as his early paintings questioned the conventional relationship between a picture and its supporting field, these new polychrome relief sculptures from his Scarlatti Sonata series challenge viewers to adopt new ways of interpreting three-dimensional forms. Composed of coils, lattices and geometric volumes shot through with steel tubing, these works pull the eye along twists and turns that are both muscular and lyrical.”

GALLERY PRESS RELEASE

September 21-27, 2009

SAMANTHA KEELY SMITH

Diving Twilight, 2009.
Oil and varnish on canvas, 60 x 68 inches. Courtesy of the Artist
click image to enlarge

on view this weekend in the artist's studio at 68 Jay Street, 7th Floor, one of over a hundred open studios that form part of the Art Under the Bridge Festival organized by the Dumbo Arts Center. The three day festival, from Friday through Sunday, also comprises performances and installations such as Boomtown 2006 by Artcodex about the nexus of art and real estate, Ballooning Awareness, an interactive roaming performance by Jonn Bonafede addressing youngsters on the theme of climate change, Tercet by Angela Silver in which ubiquituous traffic signals are replaced with multi-lingual poetics, and an Eco disco promising a dialogue between nature, technology and culture. For times and more details visit dumboartfestival.org

September 8 - 15

ISRAEL HERSHBERG

Aria Umbra II, 2007 – 2009. Oil on linen, 36-1/2 x 98-1/2 inches. Courtesy of Marlborough Gallery

On view as part of the artist’s solo exhibition, “From Afar,” which opens Thursday at Marlborough Chelsea (alongside the sculptural installation of artcritical’s September “logo artist” Will Ryman). The title of Hershberg’s show alludes both to the long distances from which he paints his panoramas (click the image to see the full “cinescope” format of his eight foot-wide canvas) and to the fact that in Hebrew, “afar” also means “dust.” “All that dust in the aria hangs over everything, defining a seemingly endless nothingness into a measured and felt diaphanous volume of ether that starts where the eye begins to see,” the artist has written. Many of Hershberg’s vistas revisit vantage points of Corot paintings, what he calls the C-spots, which presumably is a painter’s equivalent of hitting a landscape’s G-spot? Hershberg is the founder of the Jerusalem Studio School, an academy that fosters a traditional approach to painting, and which runs a summer program in Umbria. A gala for the School will take place at Andrea Meislin Gallery on September 16 – email here for ticket information.

September 1 - 7

JON ISHERWOOD

Unison, 2009, champlain marble,
75 x 30 x 31 inches.

on view in the exhibition, Jon Isherwood: Sculpture, at John Davis Gallery, 362-1/2 Warren Street, Hudson, New York
through September 13
click for more images

August 24 - 31

JOA BALDINGER

click image to enlarge

Untitled (To Petra Von Kant) 2, 2008, oil on copper, 18 x 18 inches.

Joa Baldinger's solo exhibition, titled "Burning Is Being In the Truest Sense," is the inagural display of the Ayn Foundation's new gallery in a converted potato barn in Sagaponak, NY, through October 15. The show is curated by Kara Vander Weg who writes as follows about the artist:

Baldinger’s work can be considered within an historical continuum of painting. The lush palette of Gustav Klimt, the negative space in Henri Matisse’s cutouts, and the abstract purity of Imi Knoebel’s paintings are all relevant. A tension between physical structure and surface creates a palpable energy and further reveals Baldinger’s interest in the tenets of Minimalism. In a series of five panels, books on a shelf are variously rotated, recombined, or enlarged, distilling them to abstract building blocks of color. The cool mathematical rigor of each precisely squared panel is offset by the deliberate irregularities in Baldinger’s brushstrokes and the uneven opacity of paint across the surface. Together with her vibrant palette and the warmth of the copper backgrounds, her compositions suggest the slow, imperfect burn of life.

28 Hildreth Lane, Sagaponack, NY. Friday-Sunday, 12-6 pm

August 17 - 23

JINKEE CHOI

Jinkee Choi’s Canada Goose I 2009, ceramic doll and acrylic paint, 3 x 4 x 10 inches, one of several manipulated found objects of sharp subversive humor by this artist on view at Gana Art Gallery as part of the AHL Foundation’s sixth annual Visual Arts Competition winners’ exhibition, in which he won first prize. “Eclectic Visionaries” features six Korean and Korean-American artists: jurors were Nathalie Anglès, Melissa Chiu, and Benjamin Genocchio, and the show was curated by Hyewon Yi. Other exhibitors are Jarrett Min Davis, whose fantasy realist paintings fuse Korean and American folkloristic elements; video artist Yeon Jin Kim; sensitive still-life photographer Jeonghyun Lee; graphite-animation artist Kakyoung Lee; and sculptor Jaye Moon, maker of sexy, streamlined Plexiglas valises. Through August 29, 568 West 25th Street.

August 3 - 10

JIMMY WRIGHT

Portrait of the Artist, 2001.
Pastel on paper, 19-1/4 x 17-3/8 inches.
The Metropolitan Museum of Art, New York
Purchase, Gertrude Whitney Conner Gift, 2001

on view as part of the exhibition, The Lens and the Mirror: Self-Portraits from the Collection, 1957-2007, at the Metropolitan Museum of Art, curated by Marla Prather, through November 15. The exhibition, Jimmy Wright, Twenty Years of Paintings and Pastels opens at the Springfield Art Museum, Springfield, Missouri, on September 18th.

July 20 - 26

MADELEINE HATZ

In The Klein Blue Performance by Madeleine Hatz, the artist, working with IKB paint and attired in lyotards of similar hue, paints a large drop canvas with her hands and feet, dripping and printing the paint around the contours of her own body. She pays homage to the anthroprometries of Yves Klein while correcting the sexism of the French master, who used comely, naked young models as his instruments, by having the artist be her own brush. (If only such brushes were available at Pearl Paint!) A hint of the dionysiac via Carolee Schneemann's Meat Joy might come to mind from the photographs of these performances, but that's deceptive: With a Jordi Savall soundtrack, the experience is decidedly meditative. Hatz gave her performance in Williambsurg June 11 under the auspices of Creative Thriftshop and repeats it July 22 at 6pm at Elga Wimmer, 526 West 26, # 310, where her small YKB Ceilings series of paintings are part of that gallery's Summer show

July 13 - 19
SANDY WALKER

ink on paper, reproduced in the July issue of Harpers Magazine along with other works by the artist to accompany the article “We Still Torture: The new evidence from Guantánamo,” by Luke Mitchell. Walker is to be the subject of an exhibition this fall at the Meridian Gallery, San Francisco, opening September 12

July 6 - 12

PAUL RESIKA

Noon 2004
oil on canvas, 60 x 52 inches
Courtesy Lori Bookstein Fine Art

on view at Booth B9 as part of
ArtHamptons
the international art fair at Bridgehampton Historical Society, 2368 Montauk Highway, Bridgehampton NY this coming weekend, Friday July 10 through Sunday, July 12. Opening hours are noon to 7pm, Friday and Saturday, and noon to 6pm, Sunday. Opening Gala/Collectors' Preview is Thursday Jul 9, 6-9 pm

June 29 - July 5

GUSTAVE CAILLEBOTTE

The Floor Scrapers, 1876. Oil on canvas, 31-1/2 x 39-3/8 inches. Private collection

on view in the exhibition, Gustave Caillebotte: Impressionist Paintings from Paris to the Sea, closing at the Brooklyn Museum July 5

It would be odd to describe the richest Impressionist as the Cinderella of that movement, but Gustave Caillebotte has always been its sleeper. His wealth, perhaps, was to blame: a passionate yachtsman, he seemed as happy on the sea as painting it. In acknowledgement, an entire wall in this two room show is given over to sleek wooden models of boats after the master’s designs. The exhibition keenly misses the key loans that would give it a definitive air, such as The Parquet Floor Strippers from the Museé d’Orsay or Paris Street, A Rainy Day in the Art Institute of Chicago, but an appropriately minor show for a minor artist can still pack gems, such as this smaller study of floor scrapers. In their absorption and sweaty exertions they surely constitute an iconic depiction of labor, comparable in astuteness of observation to Courbet’s stonecutters and Velázquez’s spinners. Equaling its social insight is the picture’s value as a painting about painting, in the way the stripped veneer accentuates a sense of surface that is at once literal and metaphorical.

DAVID COHEN

200 Eastern Parkway, Brooklyn
(718) 638-5000

MALADO BALDWIN

Green Hills, Blue Cloud, 2009
Acrylic and Oil on Canvas, 20 x 20 inches
Courtesy of the Artist

On view at the Third National Juried Exhibition at the cooperative Prince Street Gallery, at 520 West 25th Street, between 10th and 11th avenues, 646 230 2466, through July 3. The juror for this exhibition of around two dozen artists was Susanna Coffey.

Baldwin's work was included in the recent group exhibition, Hypothetical Landscapes, at Janet Kurnatowski Gallery, reviewed at artcritical last month by Justin Terry.

She can also be seen in Open City, the 2009 New York Studio School alumni biennial, Juror: Sean Scully, through July 11, 8 West 8 Street, between 5th and 6th avenues, 212 673 6466.

And from June 23 to July 18 (reception Thursday, June 25) Baldwin takes part in the Painting Center's Twenty Five Painters Under Thirty Five, Curated by Ryan Cobourn, 52 Green Street, between Broome and Grand streets, 212 3431060

June 16, 2009

Barbara Friedman

Overlook Study (Balcony) 2009, on view until July 2 in the project room at Michael Steinberg Fine Art in a show of Friedman's Sumi ink drawings presented in conjunction with her "Overlook Paintings" in the main gallery.

526 West 26th Street, Suite 215, between 10th and 11th avenues, 212 924 5770

June 5

JIM HERBERT

Handjob 2009. Acrylic on canvas, 150 x 139 inches. Courtesy of the Artist
click image to enlarge

Jim Herbert's garrulous and gargantuan canvases, all around 13 foot square, are on view in his hangar-like studio in East Williamsburg along with assorted studio mates, a satellite venue of English Kills, which in turn is one of four Brooklyn venues that together form the Bushwick Biennial, the rival opening this weekend to a certain other biennale. The other three sponsoring venues are NURTUREart, Pocket Utopia and Grace Exhibition Space. Events kick off at 1pm with a cascading schedule of opening parties later that evening - check out bushwickbiennial.com for details. And the Bushwick B is but a cog in the wheel of the sprawling 200+ open studios marking the weekend.

May 23

LINDA DANIELS

Small Square Blue, 2009. Oil on linen, 16 x 16 inches. Courtesy A.M. Richard Fine Art

If there is a neo-reductivist revolution afoot in painting, Linda Daniels could be its Robespierre, so ruthlessly doctrinaire do her oil in linen squares seem. (A. M. Richards, 328 Berry Street, 3rd Floor, Brooklyn, (917) 570-1476, through May 24- tomorrow.) But it has been so long since we’ve experienced painting as a site with ground rules that her strict discipline feels like a longed for release. Restraint is sexy here, with vibrant springtime color and geometric patterning that is decidedly floral, but cut with dangerously sharp blades.

JOE FYFE

May 22
CHARLES CAJORI

Trio with Flowers 2007-08. Oil on canvas, 47 x 48 inches. Courtesy Lohin Geduld Gallery

Charles Cajori was presented with the Jimmy Ernst Award in Art at the American Academy of Arts and Letters Ceremonial on Wednesday. In the citation that accompanied the award that august institution declared: "Charles Cajori is a painter of imagined figures and spaces which seem always to be caught in the act of defining pose and location. His masterful drawing is crucial in orchestrating the tension between figure and shape. Color is never descriptive, working more as a plastic counterpoint to drawing and combining with it to create images pulsating with energy and life. For several decades Cajori has pursued an ineffable ideal. His paintings are resolved but never finished -- works of great beauty and distinction."

May 15, 2009

ROBERT C. MORGAN

Veksö III 1971. Acrylic on paper, 23-¼ x 16-¼ inches. Courtesy Björn Ressle Gallery
click image to enlarge

The polymathic Robert C. Morgan, highly proflific art critic, art historian, curator and poet, started out as a visual artist and maintains this practice as was evidenced by the display of recent work at Sideshow in Williamsburg last month. Partially concurrent with that show is a historic survey of works dating back to 1970 at Bjorn Ressle (16 East 79th Street, extended through May 29) that includes documentation of performances, photo montage works with gestural, painterly elements, and Veksö III (1971,) a minimalist gem that plays distressed surface against focused structure to achieve clarity and intimacy in equal degrees.

DAVID COHEN

May 5, 2009

GREG LINDQUIST

Red Hook Revere Sugar Refinery Ruins (Ikea Flattening and Flatpacking Construction, Our Biggest Idea is the Smallest Price), 2009
detail (click image to enlarge).
Oil and metallic on linen
9 x 29 x 2 3/4 inches
Courtesy of the artist and Elizabeth Harris Gallery, New York

Lindquist's painting is on offer at the Brooklyn Academy of Music's Fifth Annual BAMart Annual Auction, online until 8pm on May 11th, an auction of over 150 Brooklyn-based and BAM -associated artists, also including, Rita Ackermann, Will Cotton, Alex Katz and Kehinde Wiley. Lindquist was the subject of a recent survey exhibition at BAM, and is also, meanwhile, curator of Hypothetical Landscapes, a group show at Janet Kurnatowski until May 31, featuring Miya Ando, Malado Baldwin, Don Gummer, Darina Karpov, Ati Maier, Dustin Schuetz, Rebecca Smith and Suzanne Stroebe.

May 2, 2009

Ian Davenport
Puddle Painting: Light Cerulean Blue 2008

acrylic paint on aluminum, mounted on aluminum panel, 40 1/2 x 31 inches, Courtesy Paul Kasmin Gallery

One of the original YBAs, as the bright young things of the London art scene were dubbed in the early 1990s, Ian Davenport has been known since his debut from Goldsmiths' College for his crisp, bright, nonchalently sassy acrylic pourings such as this "puddle painting" with its knowing collision of calculation and chance. On view at Paul Kasmin where his solo show is closing today.

April 28, 2009

Rackstraw Downes
Henry Hudson Bridge Substructure, A.M./ P.M. 2006

Oil on canvas, 39 x 32 inches (Part I, A.M, of the diptych)

British-born artist, teacher, editor and writer Rackstraw Downes will speak on “Thoughts of a Painter” April 30. There will be a reception at 5:30 p.m., and the lecture begins at 6 p.m. at the Cosmopolitan Club at 122 East 66th Street in New York City. Tickets are $50, and a portion of the proceeds benefit the Archives of American Art. Checks or credit cards preferred. Club attire: jackets and ties for gentlemen.

April 14, 2009

Dorothea Rockburne Angular Momentum 2008

Watercolor on Duralar, 48 x 36 inches. Courtesy of the artist and Greenberg Van Doren Gallery, New York.

on view at the National Academy's 184th Annual Exhibition of Contemporary American Art (until June 10). The exhibition of 191 artists from across the nation includes an array of the great and the good that crosses boundaries of trad and trendy, making the NA an academy in the best sense of the word, uniting artists of quality. Exhibitors in this year's instalment of the biennial event include Gregory Amenoff, Stephen Antonakos, William Bailey, Robert Berlind, Will Barnet, Charles Cajori, Sue Coe, Susanna Coffey, Janet Fish, Jane Freilicher, Mark Greenwold, RIchard Haas, Yvonne Jacquette, Wolf Kahn, William King, Albert Kresch, Ellen Lanyon, Whitfield Lovell, Sylvia Plimack Mangold, Raoul Middleman, Ruth Miller, John Moore, George Nick, Thomas Nozkowski, Pat Passlof, Philip Pearlstein, Paul Resika, Faith Ringgold, Harriet Shorr, Joan SnyderSusan Jane Walp, Betty Woodman. Rockburne is the honoree of the Academy's annual fundraising gala on May 5 alongside philanthropist Robert Levinson. 1083 Fifth Avenue at 89th Street, 212 369 4880

April 10, 2009

Fran O'Neill Reel 2009

Oil on canvas, 74 x 60 inches
this is a detail.. click image for whole painting

Fran O’Neill, subject of her second solo show at the John Davis Gallery in Hudson, New York, was a recent recipient of a Joan Mitchell Foundation grant. Her latest series is a breakthrough: these sumptuous, all-over abstractions built of mind-bogglingly intricate details are oceanic in their fusion of decorative and labor intensity. Like the ocean, there is slow evolution and constant undulation. The little teeth-like tessarae in Reel are negative shapes, revealing the white ground of the canvas exposed from the painstakingly filled-in spaces between. The impact is somewhere between the aboriginal painting of O'Neill's native Australia and Gustav Klimt. Mitchell, one feels, would have approved.

DAVID COHEN

April 7, 2009

Ishmael Randall Weeks

Untitled, 2009, with live plants, spray paint, and wood
Stand dimensions 54 x 34 x 15 inches
on view at that artist's solo exhibition opening Eleven Rivington today

11 Rivington Street, between Bowery and Chrystie, 212-982-1930

April 1, 2009

Becky Brown Culture-in-Action 2008

Acrylic and collage on canvas, 34 x 30 inches.
click image to enlarge

on view Friday, April 3, 6-10pm at Hunter College, 450 West 41st Street (between 9th & 10th avenues) as part of the Hunter Open Studios, also on view Saturday, 2-6pm, with "cash and carry" silent auction on Friday evening.

March 25, 2009

Pierre Obando Edits 2008-09

acrylic on canvas, 30 x 24 inches, on view at Rush Arts Gallery until Saturday (March 28) at 526 West 26th Street, #311, between 10th and 11th avenues, 212 691 9552

Pierre Obando’s paintings and photographs tap into an aesthetic of serendipitous error. Working with the familiar Ben Day dot, but in a way that is remote from the antics of Roy Lichtenstein and his Pop peers, and is closer perhaps to the cerebral op art musings of R.H. Quaytman, Obando orchestrates subtle, rarefied, understated moments of misregistration. The emotional affect of his quietly quirky art is intriguing but elusive.

DAVID COHEN

March 6, 2009

Clintel Steed Triple Play 2009

oil on canvas, on view at Mark Borghi Fine Art stand at the Bridge Art Fair, 222 12th Avenue at 27th Street, through Monday March 9

Clintel Steed's powerful new paintings are among the best works on view at this year's youthful, bustling - and very fun - Bridge Art Fair. Grouped generously in Mark Borghi's gallery space, Steed's large canvasses are a perfect fit for the setting; arresting and sustaining as they do even the most restless of gazes. With strong color, decisive brushstrokes and exuberant frame-pushing compositions, Steed unfolds complex scenes taken mainly from his own surroundings. Frontal-Pass and Triple Play are especially eye-catching, and depict, among the miscellany of the studio, computers set to show internet porn. The handling of the images on the screens is deftly energetic, both pixilated and painterly, but no more interesting than the rest of the paintings which exhibit expertly maneuvered passages of mud-tones slipping thickly into bright hues, and structural expanses of pink taking on blush-inducing figurative presences. The works suggest the instincts and intellect of a painter who thrives on visual overstimulation, and for whom all forms of seeing can be a bit of a turn-on.

CHRISTINA KEE

March 2, 2009

Amy Kupferberg Twentyone 2006

Arc welder on waxed masa paper, 7 x 12 feet
Courtesy of the artist

on view at NurtureArt Non-Profit Inc, 910 Grand Street, Brooklyn, at the junction with Waterbury Street, through March 28 in the exhibition, Patterns of Growth, curated by Susan Ross and Melissa Staiger and also featuring artists Laurie Close, Sarah Dobkin, Monique Ford, Phyllis Goldberg, Jackie Meier, Cynthia Milionis, Jeanne Thomsen, and Beatrice Wolert. www.nurtureart.org

What do a celebrated eighty-year-old art-world veteran and a recent Pratt grad have in common? For one thing, gender. But more than that, they are both part of an evolving tradition of abstract painters concerned with processes, or patterns, of growth. Patterns Of Growth attempts to trace a path of influence that began with pioneering artists like Lee Krasner, Joan Mitchell, and Alma Thomas, and continues in the work of contemporary artists. In different ways and to different ends, these women explore the personal, often mystical aspects of the creative process, while remaining grounded in the organic world.

from the press release

February 27, 2009

Dane Patterson Travelogue 2009

graphite on paper, 53-1/2 x 36 inches
on view through March 7 at the Proposition,
559 West 22nd Street east corner of 11th Avenue
(212) 242-0035

Patterson's third solo exhibition at the Proposition is also the last exhibition at the Chelsea venue of the gallery of Ellen Donahue and Ronald Sosinski that has, under various guises, been in continuous operation in New York for a quarter of a century. Starting life in the East Village in 1984 as the E.M. Donahue Gallery, and moving to SoHo in 1988 as Donohue/Sosinski, the gallery concentrated in this period on mid-career painters like Frances Barth, Marjorie Wellish, Laurie Fendrich, Arnold Mesches, George Schneeman and others. Since 2002, moving to Chelsea as the Proposition, the gallery began to show works in time-based mediums in its project space, often by younger artists. Dohahue and Sosinski intend to continue secondary market dealing and representing artists at proposition.com. Quizzed by artcritical on his personal plans, Mr. Sosinski spoke of "lusting for retirement, but not quite yet."

February 17, 2009
Leon Kossoff Seated Woman 1957

oil on board, 61 x 36-5/8 inches
on view in the exhibition Leon Kossoff: From the Early Years, 1957-1967 opening today, February 17, at Mitchell-Innes & Nash through March 28 at 534 West 26th Street, between 10th and 11th avenues

Like Rilke, Leon Kossoff strives "to be a beginner." "Whether by scraping off or by rubbing down, it is always beginning again, making new images, destroying images that lie, discarding images that are dead," he has written. In each painting there is an urgency, a sense of improvisation, such that one could believe that he had to learn as he went along how to make this image happen, to excavate or coax it from an oppressive overload of paint. Kossoff paintings are heavy--not just literally, the pigment heaped onto wooden supports, as canvas could never carry his amounts of paint, but emotionally too, the palette lugubrious and autumnal. Because of the sheer, manifest effort they embody, the works weigh heavily on the conscience of the viewer.

DAVID COHEN

[writing in Art in America, December 1995]

February 9, 2009
Carol Salmanson Diaphany 2009

site specific installation at Mixed Greens Gallery, 531 West 26th Street, between 10th and 11th avenues,
lit between 8am and 10pm.
image shows building facade, above, and detail

“Diaphany” uses the architecture of 531 West 26th St as the starting point for its design. The west window’s mullions, center window’s sill, and east window’s fire escape railing and ladder are all incorporated into the installation’s geometry. Placed behind diffuser material that is permanently installed in the gallery's 108 square feet of windows, "Diaphany” includes 2,642 LEDs of six colors and two shapes, fluorescents, and more than 30 colors of gel filters at varying distances from the windows, forming hard edges and soft blends, as well as large and small forms.

THE ARTIST

February 4, 2008
Duncan Hannah A Few Days 2007

oil on canvas, 14 x 9 inches
on show at Turtle Point Press through Friday
233 Broadway 212 945 6622 www.turtlepointpress.com

January 20, 2009
Susanna Heller
On the Heel -Toe Express
2008

oil on canvas, 36 x 312 inches
on view at Magnan Projects, 317 Tenth Avenue, through February 14

Susanna Heller transforms the visual and tactile experiences of her walks along the Greenpoint waterfront and across the Williamsburg Bridge into visions that straddle a divide between chaos and fragile structure. Animistic lines suggest organic and manufactured forms, urban detritus and weird celestial accidents. Streaky and modulated whites and blues and grays and browns, vibrant and chalky ochre and rusty and neon oranges, convey specific surfaces that reflect and absorb natural light that has been filtered through layers of airborne pollutants. Her renderings of swathes of sky are beleaguered with a sense of ominous foreboding but they always verify the artist’s actual experiences of various times of day in the outdoor terrain.

ERIC GELBER

December 24, 2008
Dona Nelson Night Studio 2008

Cheesecloth and acrylic mediums on canvas, 83-1/2 x 84 inches. Courtesy the artist and Thomas Erben Gallery, New York

This small group show, up through February 1, of five works by four artists at the Thomas Erben Gallery is best characterized by the adage, quality over quantity. Painter’s painter Dona Nelson aggressively questions her medium's two dimensional format by turning her painting into a sculptural installation. She sets up spatial rythms for the others in the show: Hadassah Emmerich, Chitra Ganesh and Haeri Yoo. A powerful symmetry emerges among the diverse visual perspectives and cultures unearthed by these works.

LARA TAUBMAN

December 15, 2008

Stephen Westfall Too Much Love 2008

oil on canvas, 30 x 30 inches. Lennon, Weinberg, Inc.

On view at the artist's solo exhibition at Lennon, Weinberg, 514 West 25th Street, between 10th and 11th avenues, New York 212 941 0012 through Saturday (December 20)

Restraint with a smile has always been Stephen Westfall's hallmark. As surely as his method of tight, almost heraldic geometric abstraction remains focused, so are his stylistic references correspondingly diverse. His paintings acknowledge both minimalism and pop in their serial logic and jazzy, synthetic color. A somewhat designer-ish, language-game take on abstraction places the artist in the dubious company of postmodern contemporaries but Westfall seems incapable of irony: indeed, his work is pervaded by ingenuousness, placing him in genuine and respectful dialogue with the luminaries of the purist tradition in modern painting.

DAVID COHEN [2003]

December 11, 2008
Elizabeth Insogna This Image in Witchcraft 2008

oil on linen, 50 x 60 inches. Jeannie Freilich Contemporary

On view in the artist's solo exhibition that opened December 4, reception tonight, December 11th, at 530 West 25th Street, 5th floor, between 10th and 11th avenues, New York City, 212 794 5220. Exhibition continues through January 3

December 9, 2008
Amanda Church A Better Truth 2008

oil on canvas, 28 x 36. The Artist

on view at the Ruth S. Harley Center Gallery, Adelphi University, One South Avenue, Garden City, New York as part of the exhibition, Chroma, also featuring work by Jennifer Coates, Peter Drake, Carson Fox, David Humphrey, Sharon Louden, Jennifer Maloney, Erin O'Keefe, Sarah Peters,Gary Petersen, Mark Pomilio, Jean Shin and James Siena, until January 15

December 8, 2008
Julie Langsam Mendelsohn Landscape (Einstein Tower) 2008

oil on panel, 23 x 23 inches. Courtesy of Frederieke Taylor

on view in her solo exhibition at Frederieke Taylor, 535 West 22nd Street, between 10th and 11th avenues, until January 10. Opened last week, Reception on Thursday.

Julie Langsam is interested in the failure of modernism, and in how the painter can keep going after the end of that history. She shows seemingly timeless sublime backgrounds behind such icons of modernist architecture as le Corbusier’s Ronchamp chapel, Saarinen’s TWA Terminal, or Mendelsohn’s Einstein Tower. Beneath her modernist architecture she adds long horizontal color grids derived from Ad Reinhardt's painting.

DAVID CARRIER

Saturday, December 6, 2008

Adam Van Doren Radcliffe Camera 2007

oil on canvas, 18 x 14 inches. The Artist

on show at The Renaissance Studios, 130 West 57th Street, 13th Floor, between Fifth and Sixth avenues, New York City, 212 586 8342, through Monday only (noon to five)

Adam Van Doren’s lovingly nostalgic portraits of such iconic edifices as Oxford’s Radcliffe Camera or the Bridge of Sighs in Venice are unabashedly traditional, yet also deceptively so. His painterly idiom joins Anglo-Saxon empiricism and French jouissance – think Walter Sickert meets Albert Marquet. But occasional audacities with temperature, surface and color juxtaposition tweak the conservatism with refreshing inventiveness. The show takes place in the artist’s studio, one of New York’s hidden architectural treasures, a soaring, top lit beaux-art atelier once occupied by Childe Hassam – a setting commensurate with the idyll of Van Doren's motifs.

DAVID COHEN

Friday, December 5

Kembra Pfahler, Still from IFC Video, 2008

on view at It Ain't Fair, presented by O.H.W.O.W., 3100 NW 7 Avenue, Miami, Florida 305 633 9345, featuring Deitch Projects, Peres Projects, Nueva Galeria De La Barra, A.S.S. Gallery, A.M.P., Picturebox and TV Books with curators Tim Barber, Kathy Grayson, Andreas Melas, Dan Nadel, Pablo de la Barra, Nicola Vassell and Terence Koh, through December 7

Thursday, December 4
Nathan Redwood Carried Away 2008

acrylic on canvas, 76 x 60 inches. Caren Golden Fine Art

on view at Caren Golden Fine Art, Booth #E-16, along with works by Tom Burckhardt, Bradley Castellanos, Roland Flexner, Nicol López, McCallum & Tarry, Paul Henry Ramirez and Julie Rofman at Art Miami, Midtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street, Miami Florida, December 3 - 7

Wednesday, December 3

Eve Sonneman
Baseball in Deep Space 1988

Polaroid sonnegram on aluminum, 30 x 22 inches. Courtesy Nohra Haime Gallery

on view at the Nohra Haime Gallery, Booth 313, at Art Miami, along with more than 100 national and international contemporary art galleries and institutions, at the Art Miami Pavilion, Midtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street, December 3 - 7

Monday, December 1
William Steiger Gondola Wheel II
2008

Oil on linen, 60 x 48 inches

on view through Saturday in his exhibition, Transport, at Margaret Thatcher Projects, 511 West 25th Street, Suite 404, between 10th and 11th avenues, 212 675 0222

Within an essentially graphic design technique of cheery palette and anal retentive precision William Steiger’s highly streamlined means actually revel in a certain complexity. His is a miniaturist's delight in capturing the inner space of a distant cable car or the almost baroque rythmic complexity of a ferris wheel viewed at an oblique angle. Modern transport nostalgically rendered, his motif, seems an apt metaphor for an aesthetic as picturesque as it is efficient.

DAVID COHEN

Friday, November 28
and Thanksgiving Weekend

Josephine Halvorson Crumbs 2008

Oil on linen, 17 x 21 inches

on view at Sikkema Jenkins & Co, 530 West 22nd Street, between 10th and 11th avenues, 212 929 2262, until January 10, 2009

Josephine Halvorson’s small oil paintings are diminutive delights. Their breezy infatuatedness would bring Karen Kilimnik to mind were it not that Halverson’s love affair is with the actual rather than the nostalgic, sparking a true painterly tension between real-life things and their pigment-and-oil existence. In Memento Mori cropped tombstone text fills the canvas, and Crumbs presents just that - lovingly painted remnants of a meal. Within the boundaries of a canvas, eclectic details of our surroundings come to constitute a world unto itself.

CHRISTINA KEE

Thursday, November 27
Thanksgiving Day in the US

John Currin Thanksgiving 2003

Wishing our readers a happy Thanksgiving.

Wednesday, November 26
Anton Henning Portrait No. 260 2008

Oil on linen, 23-3/4 x 19-3/4 inches

on view at Henning's exhibition, German Enlightenment, closing today, Wednesday, at Zach Feuer Gallery, 530 West 24th Street, between 10th and 11th avenues, 212 989 7700
more information

Tuesday, November 25
Meredith Allen Untitled 2008

on view at Edward Thorp Gallery, 210 Eleventh Avenue, at 25th Street, 212 691 6565, closes Saturday.

In medium-sized, digital color C-prints, Meredith Allen exposes the overlooked beauty, right under our noses, of glossy wrappings and veilings. Close-ups of an opaque white garbage bag with stabs of red cinch ribbons, a shadowy stroller rain flap, and the teasing, plasticky camouflage around a flower arrangement seem to posit an equivalence between hiding, sheltering, and revealing. It is as if the true meaning of our world, and its only reliable pleasure, lay in the thin gimcrack with which we film things over.

DAVID BRODY

Monday, November 24
Natvar Bhavsar Rasikaa 2006

Pure pigment on canvas, 100 x 112-1/2 inches

on view at Sundaram Tagore Gallery, 547 West 27th Street, between 10th and 11th avenues, 212 677 4520 opening tomorrow
more information

Weekend of November 22/23, 2008
Joan Banach Citizen 2003-2004

reconstituted oil on wood, 84 x 72 inches

on view at Small A Projects, 261 Broome Street, between Orchard and Allen, 212 274 0761 in her solo exhibition, Citizen, through December 21

past pics
Friday, November 21
Katia Santibañez Between the Waves 2008

acrylic on wood, 24 x 24 inches. Courtesy Danese

on view in her exhibition of new work at Danese through December 20, 535 West 24th Street, 6th Floor, between 10th and 11th avenues, New York City, 212 223 2227

Santibañez has a touch that is expressive in its very restraint. Her design sensibility is highly ordered, whether serial, symmetrical, or algorithmic. Yet there is always the feeling that she has built her images through linear elaboration rather than having an a priori idea and then filling it out. It is as if the artist has internalized the growth patterns she depicts, which makes sense of the tribal or primitive feel that animates certain images. Her work occupies a place where observation and abstraction meld, recalling the natural order at the origins of decorative pattern.

DAVID COHEN

Thursday, November 20
R.B. Kitaj Autumn of Central Paris (After Walter Benjamin) 1972-72

oil on canvas, 60 x 60 inches. Collection Mrs. Susan Lloyd, New York

David Cohen's lecture "The Exemplary Diasporist: R.B. Kitaj in the aura of Walter Benjamin" is tonight at 6.30 pm at the New York Studio School, 8 West 8 Street, between Fifth and Sixth avenues, 212 673 6466

Wednesday, November 19
Willard Boepple Burnley 2008

Poplar, 29 x 60 x 21 inches

Willard Boepple: Looms opens tonight at Lori Bookstein Fine Art, 37 West 57th Street, between Fifth and Sixth avenues,
212 750 0949 through January 3, 2009

When you call the form or genre that Willard Boepple is currently working through a “structure” you find the word resonating at many levels, whether physical, social or linguistic. His latest series, which he calls “looms,” are skeletal, with every bar and support forced to pull its weight in the taut aesthetic engineering. And as with the ladders, the shelves, and the rooms that have been past ciphers of his sculptural obsession, he has once again hit on a form that touches, and then elaborates, the lived and breathed experience of the socially interactive body.

DAVID COHEN

PRIOR PICS THIS WEEK

Tuesday, November 18
James Hyde Paragraph 2004

wood on vinyl, 42-1/2 x 30 x 1 inches

Hyde will lecture this evening on his work at the School of Visual Arts
6.30PM (133-141 West 21st Street, Rm 101C, www.sva.edu) in their series, Art in the First Person

Monday, November 17

Linda Stillman Good Morning 2008

coffee filters and acrylic medium, 28 x 28 inches

on view at the Art and Alchemy exhibit (curator: Barbara Lubliner) at NEXTGallery, Metropolitan College of New York, 75 Varick Street / One Hudson Square, between Canal & Grand Streets, 12th Floor
(photo ID required)
through this Saturday (November 22)

Sunday, November 16
D.Dominick Lombardi Beachcomber
2008

sand, acrylic medium and objects
45 x 26 X 23 inches

on view in Apocalyptic Pop, curated by Kathy Goncharov at Dorsky Gallery Curatorial Programs, opening today, 2-5pm at 11-03 45th Avenue, Long Island City, 718 937 6317, through January 25

Saturday, November 15
Ines Bancalari Rojo y Tierras 2003

oil on canvas, 39-3/8 x 27½ inches

on view at the Cecilia de Torres stand at Pinta, the Modern and Contemporary Latin American art fair at the Metropolitan Pavillion/Altman Building through tomorrow (Sunday)
more information about the fair

Friday, November 14
Elizabeth Peyton Prince William and Prince Harry 2000

lithograph, 24 x 19 inches.
Courtesy Gavin Brown's enterprise

A fitting image to mark the sixtieth birthday of the royal princes' father, Prince Charles, and to remind readers of the Review Panel tonight, at which Peyton's show at the New Museum will be discussed along with shows of Sue Coe, Lothar Baumgarten and Ron Gorchov

Thursday, November 13

Alison Saar's Swing Low: A Harriet Tubman Memorial
unveiled today at West 122nd Street and Frederick Douglass Blvd in New York City

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Wednesday, November 12

Andreas Gursky Hamm, Bergwerk Ost 2008

C-Print mounted on plexiglass in artist's frame,
120-7/8 x 88 inches. Courtesy Matthew Marks Gallery

...on view at Matthew Marks Gallery until December 24 (523 West 24th Street, between 10th and 11th avenues, 212 242 0200)

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Tuesday, November 11

Gandy Brodie Young Bather 1957…

oil on masonite, 47 x 46-1/2 inches

…on view at The Art Gallery at the College of Staten Island until December 16 in an exhibition devoted to the artist, who died in 1975. (Reception tomorrow, Wednesday, 5-7pm)

---/\---

Monday, November 10

Patricia Treib Icons 2008...

oil on canvas, 66 x 50 inches, courtesy John Connelly Presents

...on show at John Connelly Presents in the last week of the remarkable debut exhibition of this 2006 Columbia MFA graduate (closes November 15, 625 West 27th Street, 212 337 9563).

Treib’s clean, cheery abstraction is deceptively simple in its freshness and poise. Discrete shapes are sharply individuated by painterly and chromatic means while interlocking with a seamless complexity that recalls late Juan Gris. There is a succulence and spontaneity in her touch that belies the paintings’ formal clarity. This in turn engenders a pleasingly confounding sense of how, in terms of tempo and temper alike, these images might have been constructed.

DAVID COHEN

---/\---

Friday, November 7

Ying Li Jim 2007...

Charcoal on paper, 30 x 23 inches. Courtesy of the Artist

....on show until November 22 at the Painting Center (Project Room), 52 Greene Street, between Broome and Grand, 212-343-1060

Ying Li’s attack in these ten charcoal portraits shows the same unique blend of impetuosity and rigor as her paintings. Outlines criss-cross and flail, contours twist, and details emerge and dissolve without discernable method. And yet we’re left, remarkably, with likenesses that seem all the more human for the struggle. Seldom is orneriness so empathetic, and ferocity so astute.

JOHN GOODRICH

	pic of the day/week/fair archive