Author: Two Coats Staff

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide, September, 2025

Contributed by Sharon Butler / Make today a day you, like me, refrain from doomscrolling in despair or listening to pundits vainly in search of packaged optimism. Cued by this guide, you might instead opt for art feeds on Instagram and ultimately the shows themselves because nothing is more hopeful than art in the fall in New York. We kick off the first week with the art fairs and then turn our attention to gallery exhibitions, hopping from neighborhood to neighborhood, absorbing new work by artists we’ve known for years and others we’ve never met. For a good time, this is the place to scroll.

Opinion

Who’s afraid of the big bad idiot?

Contributed by Jacob Patrick Brooks / In “The Art Critics Who Don’t Want Good Art,” Anna Gregor describes a cultural hospice. The caretakers are a set of bad actors. They’re online critics who have replaced the labor of criticism with the catharsis of complaint, trading in “likes and clicks” for a smooth, sugary candy that requires only passivity and attention from its audience while it rots their teeth. This feedback loop, she argues, drowns true engagement and criticism in a “deluge of mediocre art.” It is a compelling diagnosis, but one delivered from the one place a critic cannot afford to be: behind a veil. Gregor deals exclusively in archetypes and generalizations while allowing the reader to “fill in the picture.” The playboi, the intellectualist, the yelper, and so on. She’s built a perfect haunted house and populated it with ghosts of her own making. 

Opinion

The Art Critics Who Don’t Want Better Art

Contributed by Anna Gregor / If yesteryear the call for negative art criticism rang clear and true, today complaints about the state of art blur into an inarticulate whine. Be they artist or critic, Marxist or capitalist, academic or anti-intellectual: everyone is dissatisfied. Or so it seems. Despite their complaints, however, one starts to suspect that few of the YouTubers, Substackers, or Instagrammers who presume the title of critic want the circumstances they complain about to change, so lacking are they in convincing diagnoses of present problems and convinced visions of alternatives, not to mention actual critical engagement with artworks.

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide: August, 2025

Contributed by Sharon Butler / This month, many galleries are taking a well-deserved break after a shitshow of a year. A few, though, are curating through the heat and hanging new shows. At Karma, Jane Dickson holds forth with a series of amusement park nocturnes. 5-50 presents in “Becoming Otherwise” – paintings by Jocelyn Fine, Will Hutnick, Geist Topping, and Peter Schenck that crackle with energy in LIC. Deanna Evans Projects’ “ExtraOrdinary” features unsettled scenes of American home life by Lisha Bai, JJ Manford, and Ann Toebbe. At Margot Samel, Glasgow gallery Kendall Koppe presents Laura Aldridge, while Essex Flowers mounts “Overhang 2,” a ro art services pop-up riffing on the idea of summer group-show abundance and community. At The Hole, on Bowery, don’t miss “Herbivore,” which includes work by Bushwick stalwart Ben Godward.

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide: July, 2025

Contributed by Sharon Butler / A special note to New Yorkers who, like me, are loath to leave the city over holiday weekends or at any point during the summer, really: always check to see if galleries are open on Saturday. Chances are they aren’t. Many gallerists, kind of like Bartleby, simply prefer to close up shop for the entire long weekend. Other galleries, possibly your favorites, are shuttered until late summer or early fall, back to work only after the dust has settled from the September art fairs and blockbuster openings. For the hardcore stay-cation crowd of course, a slew of wonderful group shows are on view – sometimes freewheeling affairs in which emerging artists hang alongside more established ones we know and perhaps love. Where possible, I’ve listed the artists in each show so that you can hunt down the names already on your radar or target a few less familiar up-and-comers. Some of my best memories involve wandering around a nearly empty gallery with the editor on a sweltering summer afternoon and then ending up in a dark hideaway, drinking pints and arguing about the shows we saw. Save the shore for the off-season. As my mother, a woman who lived in a seaside town for most of her life, used to say, why go to the the beach in the summer? It’s a mob scene!

Gallery shows

Bettina Blohm and Don Voisine: Affect as subject

Contributed by Adam Simon / Two galleries with a focus on abstract painting, a short walk from each other in downtown Manhattan, currently have exhibitions that share a vocabulary of basic geometric forms, directional brushwork, and an emphasis on color relationships. Both shows present the rectangle as a primary condition of most painting and the dynamic interplay of forms within the rectangle as a drama unfolding. Yet these two shows couldn’t be more different. Seeing one after the other, as I did, was a study of how affect itself, manifested through color choices and paint application, becomes a subject for abstract painting, analogous to but different from a subject for representational painting.

Resident Artist

Two Coats Resident Artist Katie Butler, June 8–13

Contributed by Sharon Butler / Katie Butler (no relation to me as far as we know) creates vivid still life paintings that dive into the fraught realms of American politics and economics, riffing ironically on the “kitchen-table” and “bread-and-butter” issues affecting average people that political figures are supposed to address. While she establishes a journalistic sense of authenticity by sourcing her imagery from White House archives and the Ohio Statehouse, the discrepancy between reality and painted presentation raises burning questions about the veracity and integrity of the sources.

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide: June, 2025

Contributed by Sharon Butler / June, academics’ favorite month, is here. I’m looking forward to checking out Smack Mellon’s“Remains to be seen,” a group show that brings together nine emerging artists whose practices find meaning in waste. Artist Austin Eddy has curated a star-studded exhibition called “A Movable Feast” at Halsey Mckay’s Greenpoint outpost. Abbey Lloyd has a solo at Ptolemy, a newish gallery in Queens. I’m looking forward to seeing some aggressive abstraction, with Iva Gueorguieva’s solo at Derek Eller and…

Solo Shows

Hope Gangloff: Dashing preconceptions

Contributed by Jonathan Stevenson / At first blush, Hope Gangloff’s remarkable new paintings, on view at Susan Inglett Gallery and largely set in a notional rustic retreat, could be mistaken for blown-up greeting cards for vacationing hipsters, perhaps with a sly nod to David Hockney. Pristinely applying acrylic paint, she crafts them like illustrations, and they are unabashedly luminous. But the ecstatic vibe that characteristically radiates from that quality, though present, is winkingly deceptive. While Gangloff paints friends and actively cherishes the intimate golden moment, existential concerns burn through her work.

Group Shows

Immaterial Projects: Calamity and hope

Contributed by Will Kaplan / Curatorial collective Immaterial Projects calls its group show at The Active Space in Bushwick “The Beginning of the End.” It might seem a bit late for the beginning. We can trace the sense of perpetual crisis as far back as we like: Trump’s first term, Citizens United, the Reagan years, and farther still. But by keeping the show’s formal scope to semi-traditional paintings, Immaterial Projects captures elements of past and present alike that still smack us in the face. The show’s colors span cement and sepia, hanging along the gallery’s opposing corners to illustrate decay in both urban and natural landscapes.

Conversation

Yura Adams: A freewheeling conversation with Daniel Giordano

Daniel Giordano: Yura, I want to play a game of me spitting out a question and you rattling off an answer. A real Martin Kippenberger special of a “first thought, best thought” type response to keep us on our toes… Okay, so here we go: What artists do you steal from most and what bag of tricks did you whip out to aid in the making of your installation at Olympia?

Resident Artist

Meet Two Coats Resident Artist: Bryce Speed

Contributed by Sharon Butler / This month, the Two Coats of Paint Residency Program welcomes Bryce Speed, a painter and professor at the University of Alabama in Tuscaloosa. In his intriguing abstractions from 2023–24, Bryce embedded architectural structures but refrained from fully imparting the specificity required to identify a particular situation or place. Instead, he played with the position of shapes within the picture plane to create subtle relationships and illusions of space….

Catalogue Essays

Daina Higgins: At Home with Discord

Contributed by Jonathan Stevenson / Daina Higgins began her vocation as an artist in the 1990s as a quintessential outsider: she was not only a graffiti artist in her native Columbus but also one of the few young women then so engaged there. Her noirish attraction to the oblique angles and ominous shadows of a presumptively benighted urban landscape in the Rust Belt has never flagged. At the same time, her paintings and drawings have acquired the existential gravitas that comes, if an artist has the requisite talent and mind, with the travails of life, the burden of lineage, and the compulsion to reflect on them.

Solo Shows

Rick Briggs’s compositional irreverence

Contributed by Jason Andrew / It’s refreshing and a little humbling to walk into a gallery and be blitzed by art that’s cleverly derived from years of play, probing, and practice. Rick Briggs’s solo show at Satchel Projects shows us how open-ended and liberating painting can be.

Solo Shows

Catherine Murphy’s intimate realism

Contributed by Peter Schroth / At Peter Freeman, Inc., esteemed realist Catherine Murphy resurfaces with a new selection of her novel perceptions of the quotidian. In Cathy and Harry, a new documentary about the life, work, and marriage of Murphy and her husband Harry Roseman, also an artist, Murphy says that one of her prime objectives is to express “universal objectivity.” Against some strands of painting tradition, she chooses subjects so mundane as to be otherwise unremarkable, indicating a gentle contrariness.

Solo Shows

Judith Linhares: Good gaudy painting

Contributed by Jason Andrew / Judith Linhares has a fascination with bad taste, the oh-too beautiful, and the color yellow. In her third solo exhibition at PPOW, she doesn’t hold back packing the gallery with paintings that feature strange figurative archetypes, gaudy décor, and kitschy bits all in an embrace of the subversive potential of visual excess.

Solo Shows

Medrie MacPhee: Upcycling

Contributed by Adam Simon / The five abstract paintings in Medrie MacPhee’s “The Repair,” at Tibor de Nagy, have just enough indications of figure/ground and observed reality to evoke landscape, interior space, aerial view, blueprint. What also connects these paintings to the physical world, as we perceive it, are minor shifts of line, contour, or color that activate the surface and keep the paintings from being flat. While the paintings are large, all but one measuring 64 x 84 inches, somehow the small gallery doesn’t feel crowded.

Solo Shows

Merlin James and the thinking of painting

Contributed by Sharon Horvath / Prominent critics have written extensively about the paintings of Merlin James, and James himself is an erudite art writer. Still, I am compelled to explore how it is that his painterly magic works on my mind. As I walked through the two rooms of his current show “Hobby Horse” at Sikkema Malloy Jenkins, the paintings struck a chord, bringing up half remembered lines of Wallace Stevens’ poetry, plucked out of context.

Solo Shows

Gerri Rachins’ raptorial abstractions

Contributed by Jonathan Stevenson / While some art pulls you in gently, Gerri Rachins’ paintings, now on display at The Painting Center, grab you like a raptor. Though unequivocally abstract, their affect, as it were, is prehensile. They seem to guard the walls, flexing with taut line and pulsing color, at once opaque and fluid.

Solo Shows

Ross Knight: Sculpting in the material world

Contributed by Millree Hughes / With precisely targeted color, texture, and feel, Ross Knight’s sculptures in his solo show “Continuous Squeeze” at Off Paradise get at what physical artifacts mean in terms of our fears, fantasies, and daily struggles. Color is critical in Knight’s work. He keeps the palette small and specific, the colors he chooses leaning towards youthful nostalgia: the baby-blue of 1960s cars in Coupled Prop, a buoy yellow with custard drips in another Coupled Prop, the creamy hue of a rawhide dog chew-toy in Device. The band in Adjusted resembles an old, spent balloon, once yellow-orange but turned raw sienna with time. Does anyone ever get over a popped balloon? It’s a toddler’s tragedy. The fleshy knots, like umbilical cord buttons, are rendered useless.