An award-winning NYC blogazine, primarily about painting
Friday, March 6, 2026
Contributed by Jonathan Stevenson / Whitney Claflin’s work, now on view in her solo exhibition “Pinky’s Where” at Derosia, is winningly deceptive, like the title’s double-entendre. Consider the paintings Emma in Tarzana and Mr. Triste. At first blush, they seem nonchalantly wise-ass and a little frustrating, the first an offhand quip about internet celebrity and influencer supreme Emma Chamberlain, and the second…
Contributed by Michael Brennan / On about 200 square feet of AstroTurf, artist-run Field of Play, which opened in 2022 in Gowanus, is a tiny gallery with big ambitions, staging adventurous exhibitions and offering health and wellness programs aimed at creative people and enterprises. “Bumper Crop,” curated by artist and gallery founder Matt Logsdon, includes work by artists carrie R, Estefania Velez Rodriguez, and Rachel Yanku. Timed to coincide with the autumnal equinox, she show’s theme is the garden – an intriguingly ironic premise, given that the gallery is located next to an EPA Superfund site, the Gowanus Canal.
Meet the University of Connecticut’s MFA Studio Art Class of 2027. Working in a broad range of art making, the five-student class features…
Contributed by Tom McGlynn / Alan Prazniak’s paintings fall into productive intervals between landscape and still-life and between abstraction and representation. His most recent show at Geary comprises sixteen medium and small paintings (all from 2024) that are rigorously composed and wide-ranging in palette, bringing to mind the lyrical abstractions of Philip Guston and the quasi-landscape compositions of Nicolas de Staël. Prazniak has acknowledged as inspirations Arthur Dove and Marsden Hartley’s groundbreaking works, which embodied similarly massed shapes in bold, contrasting colors. The modernist tension…
Contributed by Evangeline Riddiford Graham / It sounds suspiciously like Earth Mother art: big nudes, babies, and quite a lot of purple, all underpinned by the conviction that God is female and that the final, necessary stage in becoming a woman is to bear children. But something is off. The nudes are emotionally distant. Preoccupied by breastmilk, the babies show no sign of higher thought. The purple arrives as shadows that renders flesh regal and strange – the purple of 1906, not 1960. And the paintings are extremely good. “Ich Bin Ich / I Am Me,” now up at the Neue Galerie, is the first major US museum show of the paintings of Paula Modersohn-Becker (1876–1907).
Contributed by Sharon Butler / What happened to all the conceptual painters? I’m thinking of artists, like On Kawara, who were more interested in ideas and process than in developing traditional painterly chops, for whom painting was about more than basic human emotion and formalist exploration of color, line, and shape. By the 1990s, many of the painting-thinkers had stopped painting and moved into other disciplines – relational aesthetics, video, digital, and installation projects. For the relatively few who continued to paint, the starting point remained a proposition rather than a vague if compelling exploration of the subconscious. Walter Robinson, though disguised as a figurative painter, is one.
Contributed by Jonathan Stevenson / Burgeoning technological innovation over generations has brought out the millennial optimist in many, but, especially outside the bubble of the tendentious capitalists eager to cash in on their investments, it may have unloosed the Luddite paranoiac in more. “Goings On,” a pastiche of Mark Fingerhut’s cheerfully invasive videos deftly curated by Lonesome Dove and recently screened at Springs Projects in Dumbo, speaks to both – the one in knowing condescension, the other in sardonic affirmation. Blasts of images that rankle sometimes owing to their content, sometimes because of their staccato presentation and creepily fluid mutability, make a case for the digital matrix’s weird agency and, beyond that, its insidious seductiveness.
Contributed by Mark Wethli / Jay Stern’s paintings of domestic interiors and landscapes, now on view in his solo exhibition at Grant Wahlquist Gallery in Portland, Maine, invite us into familiar worlds but take us there in unexpected ways. The first time I saw his work – a series of paintings of a wooden drying rack – I admired how he transformed this humble, intimate household object into something iconic and worthy of attention. On a formal level, I was impressed by how the diamond pattern of the rack’s design served as a strong compositional framework, not unlike a trellis for an array of color patches whose abstract shapes, painterly shorthand, and understated yet luminous tonalities amplify our sense of the paintings’ warmth, intimacy, and human connection.
Contributed by Katy Crowe / In keeping with Sharon Butler’s recent review of painting that is not painting per se, Maxwell Hendler’s thoroughly satisfying show at The Landing in Los Angeles, his first in ten years, consists of works that fulfill the function of paintings — they are flat, largely two-dimensional, and mounted on walls – but do not involve paint at all.
Contributed by Sharon Butler / Welcome to the early August edition of the Two Coats painting-centric guide to art exhibitions in Manhattan, Brooklyn, and Queens. Can it really be August already? Many galleries are finishing up their July shows this week and kicking back for the rest of the month, but some are extending their shows, so make sure to contact the gallery. We’re looking forward to checking out some new gallery locations — Harkawik, Sargent’s Daughters, Hesse Flatow, and Asya Geisberg have all moved to Tribeca. Marian Goodman and High Noon expect to be settled there in the fall. FYI, High Noon is trying to sublet their LES space from September through July 2025, so if your gallery is looking to move to a ground-floor space, give them a shout…
Contributed by Mackenzie Kirkpatrick / In Poetics of Space, Gaston Bachelardcharacterized the corner as “a symbol of solitude for the imagination.” Jan Dickey, curator of “The Corner Show”at D.D.D.D. Gallery, has keenly embraced this notion through dynamic, imaginative artists who apprehend the corner as a kind of refuge.
Contributed by Leslie Wayne / Deborah Buck’s energy is preternatural and her generosity of spirit seems to flow from the same deep well. We met at a wedding several years ago, and as I got to know, I learned that her path to becoming a full-time artist was not the usual one, largely because her creative drive was broad, democratic, and highly entrepreneurial. I sat down with Deborah during the run of her show, “Witches Bridge” at Jennifer Baahng Gallery.
Contributed by Jonathan Stevenson / To add up, any contemporary movie about a motorcycle club needs to be deconstructive as well as elegiac. Jeff Nichols […]
Contributed by Jonathan Stevenson / A great asset of abstract art is its capacity to accommodate in a single picture phenomena that don’t readily fit together in real life and make some kind of sense out of them. There are as many ways to exploit that capacity as there are artists. In her solo show “Loggia” now on view at Helm Contemporary, comprising three large pieces and several smaller ones, Kim Uchiyama distills visual tropes of nature – water, shoreline, forest, desert, and more – into configurations of color that project an idealized but grounded spatial relationship between outside and inside, broadly construed. It’s a quietly ambitious agenda, and she is successful in no small part because her brand of geometric abstraction is so egalitarian: no single element seems more or less important than another.
Contributed by Jonathan Stevenson / The direct and unpretentious title of Brooklyn artist Catherine Haggarty’s solo show “Just Drawing,” now up at Geary in Millerton, NY, conveys modest intent: to record on paper the inertial power of everyday life without much prior conceptual mediation. Just draw it. Cats by turns prowling a pyramid and emulating sphynxes on a starry night feature in a couple of drawings, which are meticulous without being fussy, and two others unobtrusively reference Haggarty’s art practice. Together these works and others essay a day in a life grounded by a comforting pet, reveries of icons, an enduring vocation, a familiar room, and scrappy clothing – nothing inherently grand, perhaps, but nothing remotely dismissible, either.
