Author: Two Coats Staff

Gallery shows

A garden grows – on AstroTurf – in Gowanus

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.

Solo Shows

Alan Prazniak: Balancing the artisanal and the epicurean

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…

Museum Exhibitions

Paula Modersohn-Becker’s modern women

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).

Studio Visit

Walter Robinson’s big question: What do they want?

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.

Screens

Mark Fingerhut and the sneaky internet

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.

Solo Shows

Jay Stern’s psychological realism

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.

Solo Shows

Maxwell Hendler: Painting with wood

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.  

NYC Gallery Guide

NYC Selected Gallery Guide: August 2024

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…

Group Shows

Tight corners at D.D.D.D.

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.

Interviews

Deborah Buck: Funniest girl in the class

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.

Solo Shows

Kim Uchiyama: Life in space

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.

Gallery shows Out of Town

Catherine Haggarty and Dan Gunn: Cerebrally humble and vice-versa

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.

Solo Shows

The ringing in Leslie Wayne’s head

Contributed by Jonathan Stevenson / Despite the still breathtaking majesty of the physical world, human machinations are undermining its habitability. The United States is more starkly and toxically divided than it has been since the Civil War, and some Americans claim, contra Woody Guthrie, that “This Land” – the title of Leslie Wayne’s cogent new exhibition at Jack Shainman Gallery – was made only for them and not for other Americans. This existential double-whammy leaves artists with something of a conundrum: how to honor and present beauty robustly without seeming cluelessly disengaged. Wayne finds the sweet spot.

Solo Shows

Dan Dowd and the folds of memory

Contributed by Mark Wethli / As I viewed Dan Dowd’s intimate and poetic work, now at Magenta Plains, I considered our inclination to cathect feelings and memories onto objects. Clothing in particular echoes the shapes of our bodies; touches them; connotes gender, time, and economic status; and absorbs everything from our scent to our DNA. Dowd creates small, iconic assemblages out of found materials, including fragments of inner tubes, clothing, rags, and home décor.

Solo Shows

Hung Liu’s timeless twentieth century

Contributed by Rosetta Marantz Cohen / Rare among contemporary artists, Hung Liu, who died in 2021, chronicled the trauma experienced by the Chinese diaspora in the aftermath of the Cultural Revolution. Her paintings, currently on view at Ryan Lee, vividly depict a female artist’s efforts to reconcile the terror of China’s recent past and the “otherness” she experienced after her emigration to the United States. The exhibit seems especially poignant now as questions about homeland, memory, and trauma resonate with such immediacy. 

Interviews

Larry Greenberg’s circular path

Contributed by Adam Simon / With a solo show at Rosebud Contemporary, work on view at Slag, and an upcoming two-person show at 490 Atlantic, Larry Greenberg is having a moment. After stepping away from the art world to raise a family, now, at the age of 73, he’s back. We talked about why, after a decades-long hiatus, he returned.

Solo Shows

Andrea Sulzer and the art of intuition

Contributed by Mark Wethli / In an artist’s statement about her works on paper, Andrea Sulzer once wrote: “Instead of helping you find your way, these pages will help you get lost.” This notion not only sets aside a common assumption about what some viewers look for in a work of art, but also, in her choice of the word “pages,” connotes a different kind of art object altogether — something we’re meant to decipher, like a book or an atlas. She invites the viewer into a contemplative experience, grounded in uncertainty, that doesn’t purport to have the last word but presents a labyrinth of potential meanings that the artist welcomes us to explore. Like our first inkling of inspiration–what Emerson called our “gleams of light”–Sulzer’s art presents us with visual puzzles that resist logical interpretation but reward us instead with a quickening sense of our own creative intuition. Sulzer’s latest exhibition, “see through simple,” now on view at Sarah Bouchard Gallery in Woolwich, Maine, is a welcome opportunity to explore the work of this important mid-career artist. 

Solo Shows

Elizabeth Flood’s numb sublime

Contributed by Margaret McCann / Elizabeth Flood’s landscapes in “Lookout” at Storage Gallery included oil paintings that emphasize realism and expressionistic ink drawings. The latter express vigorous engagement with the outdoors. Gettysburg (Pickett’s Charge, October 9) channels the drama of that day. Stirring energy like that of George Nick’s alla prima work drives the eye deep into a field under a sensational sky. Conversely, mental distance accompanies Flood’s large polyptychs, whose combinations resemble photographic contact sheets, art website layouts, or bulletin board accruals. At their best, artifice is imbued with the existential doubt of Edwin Dickinson or Giacometti. Repetition and variance become metaphors for modern contingency and ambivalence. Multiple views rouse a mix of ennui, curiosity, taste, and choice, like that fueling our daily shuffle through cyberspace.