Author: Two Coats Staff

Solo Shows

Alessandro Twombly: Strikingly original, richly allusive

Contributed by David Carrier / Alessandro Twombly’s twelve large new paintings, now on view at Amanita Gallery, all employ one basic, immensely fruitful motif: knots of color resembling enlarged floral forms, depicted in high-pitched, gesturally painted oranges, pinks, reds, and blacks on bright turquoise backgrounds. An artist friend nicknamed these pictures ‘Tiepolo in the Sky,” which accurately describes them. Twombly’s abstract images look like drastically enlarged figures you might find in a work by the eighteenth-century Italian painter Giovanni Battista Tiepolo. They are strikingly original yet richly allusive. 

Ideas & Influences

Artist’s notebook: Nate Ethier

On the occasion of “Heavy Light,” Nate Ethier’s second solo show at David Richard Gallery, Two Coats of Paint invited him to share ten ideas and influences that inform his complex, pulsating abstractions. He is keenly interested in kinetic motion, precision, and repetition, and credits Agnes Martin for the sense of happiness and innocence that suffuses his paintings. Most importantly, he reveals a penchant for close looking: “You can learn a great deal about light and color from a slow walk in the woods.” The show includes twelve stunning paintings and is on view through June 27.

Group Shows

The family Abelow at Swanson Kuball

Contributed by Liz Scheer / “Shoot for the Stars,” on view at Swanson Kuball in Long Island City, surveys intergenerational works by members of the Abelow-Kirilloff family, which includes New York artists Joshua Abelow and Tisch Abelow. By presenting the work of siblings, spouses, grandparents, and children, gallery directors Laura Swanson and Greg Kuball raise fascinating questions about the relationship between family and art. Do the formal parameters of a family foster or impede an individual’s creativity? Is a family itself a means of artistic production? 

Drawing

Elizabeth Murray’s wildly imaginative, electrified mind

Contributed by Natasha Sweeten / Like a car with its engine left running, Elizabeth Murray (1940–2007) seemed poised to dart in any direction on short notice. On view at Gladstone 64, Drawings (1974-2006), curated by Kathy Halbreich, boasts over 60 works of mostly pen, marker, and/or colored pencil on notebook-size paper (and actual notebook paper). Several are studies for larger works, others are on pages ripped from a binding, most all are imbued with a casualness but also intention. This show offers an enchanting glimpse into Murray’s wildly imaginative, electrified mind. I dare you to see it and not smile.

Solo Shows

Jennifer Coates: Edgy indeed

Contributed by Jonathan Stevenson / Several notable painters – Julie Heffernan, Jules de Balincourt, and Alexis Rockman, among them – have seized on the perils of climate change. In Jennifer Coates’s new solo show “Edge Effects,” jointly mounted at Chart Gallery and High Noon Gallery, she drills deeply into the subject and emerges with work that dazzles to engage, and vice-versa. The show’s title is an ecological term for what happens when one habitat impinges on another, which climate change is accelerating and amplifying. The phenomenon implies crowding, ergo potential conflict and trouble, and Coates’s canvases are appropriately busy and calculatedly unnerving. Bacchanal, a large painting, depicts the jangled co-location of lush plant life, bemused animals, and humans naked but often distressed. No doubt intentionally, it’s a far cry from Nicolas Poussin’s eponymous seventeenth-century study ingenuously celebrating sensuality. For Coates, the title sharply intimates collective hedonism gone awry. Touché.

Remembrance

The Wild Art of Barbara Westman

Contributed by David Carrier / Just to the left of my writing desk is a painting of a magnificent tree with bright orange blossoms. Below it is a now faded postcard of a drawing of Barbara Westman, who died earlier this year at age 95, and her husband Arthur Danto sitting on a sofa with their dogs Charlotte and Emilia. To the right, a work on paper shows Danto taking the dogs for a walk in Manhattan. These Westman pieces more than hold their own against the prints of old European master works, Japanese woodcut, and Bill Anthony drawings that surround them. Anytime I feel discouraged by the slow progress of my work or the political news, I need only look at them to be cheerful again. 

Solo Shows

Charlotte Zinsser: Fine deception at Haul

Contributed by Michael Brennan / Haul Gallery is in the light industrial section of Gowanus, an area typically defined by one- and two-story brick buildings faced with rolling metal gates. These house local non-chain businesses cast as, for instance, “Tool Rental,” “Collision Repair,” and “Switch Electric.” DOS Garbage Trucks, a surplus of Park Slope ambulances, and old-style levered voting machines are warehoused nearby. Big-box stores like Home Depot and Lowe’s are present, too. Uncharacteristic patches of big sky often appear above, bisected by a gargantuan elevated section of the BQE. In 2024, post-pandemic NYC, a truly adventurous art space, and perhaps an alternative model, has also emerged in the neighborhood. Premised on the defiantly alternative anti-manifesto of founders Erin Davis and Max C. Lee, the gallery awards residencies to artists who then use the space to present exhibitions. Currently featured there is Charlotte Zinsser’s first solo show. Zinsser’s aesthetic is distinctive, refreshingly peculiar, and not easily categorized. I think of her broadly as a conceptual collator of Americana in the tradition of artists like Walker Evans and William Christenberry. 

Solo Shows

Philemona Williamson’s threshold states 

Contributed by Riad Miah / Philemona Williamson’s paintings delve deeply into the concept of arrested development. For her, the term signifies a profound state of emotional or psychological stagnation, often linked to unresolved childhood issues. Yet her overall vision is expansive and not unhopeful. In her current exhibition of 15 large and small oil-on-canvas works at June Kelly Gallery, complex narratives inform her paintings and affect the very process of their creation while remaining purposefully unarticulated.

Gallery shows

Contemporary landscape: Reinvigorated and reinvented

Contributed by Patrick Neal / In New York City galleries, portraits, still lifes, interiors, and landscapes are everywhere, reinvigorated for the twenty-first century. With landscape painting in particular, innovation often arises through a seamless compounding of sources, where past and present, universal and specific, coexist. Three exemplary solo shows drive home the point. With varying degrees of naturalism and mediation, all three artists favor an authentic response to nature, and the titles of each exhibition suggest a phenomenological grounding.

Artist's Notebook

Sweet Art Alabama 

Contributed by Sharon Butler and Jonathan Stevenson / Hitting the road to Alabama for Sharon’s solo show “March” at the Sarah Moody Gallery at the University of Alabama in Tuscaloosa in late March, we knew from ongoing contact with gallery director and art professor William Dooley and his assistant Vicki Rial that a deftly curated presentation in a beautiful space and a warm reception from the Art Department were in store. The students and gallery patrons who attended Sharon’s artist’s talk were inquisitive, smart, and welcoming. What we did not expect was the prevalence of so many talented people in the wider art community spanning Tuscaloosa and Birmingham, which we discovered is rich with deeply engaged artists, curators, and gallerists.

Museum Exhibitions Out of Town

Christina Ramberg’s powerfully personal eroticism

Contributed by Laurie Fendrich / The erotically charged art of Chicago Imagist painter Christina Ramberg (1946–1995), whose retrospective is currently on view at the Art Institute of Chicago, aligns chronologically with the second-wave feminism of the 1970s and 80s. Today’s third-wave feminists (some say it’s now fourth-wave) frequently disparage that incarnation of the movement for privileging white women’s worries, and worse, for its obliviousness to institutional misogyny. Fortunately, Art Institute curators Mark Pascale and Thea Liberty Nichols don’t try to pigeonhole Ramberg’s work into that framework. Although she considered herself a feminist, an aggrieved one she was not. Her art was personal, not political, and it doesn’t fit neatly into standardized versions of feminism. Remarkably, the artist found a way to mix together sharp and provocative subject matter about women’s desires with a classical, pristine aesthetic.

Solo Shows

Ron Milewicz’s Thoreauvian sensibility

Contributed by Michael Brennan / If you are interested in the ongoing relevance or advancement of landscape, Ron Milewicz’s current exhibition “Second Sight” at Elizabeth Harris Gallery is for you. Milewicz, who has taught for decades, is an expert hand at drawing, painting, and, most importantly, seeing.

Gallery shows

NYC Selected Gallery Guide: May 2024

Welcome to the early edition of the Two Coats painting-centric guide to May art exhibitions in Manhattan, Brooklyn, and Queens. Notable, must-see shows in Brooklyn include Emily Janowick at International Waters, Emily Roz at Auxilliary Projects, and Charlotte Zinsser at Haul. In Manhattan, Julia Bland has a new series of monumental woven and painted pieces at Derek Eller and Joanne Greenbaum is having her first solo at Mitchell-Innes & Nash. Check out Two Coats contributors Anna Gregor at D.D.D.D. Projects and Natasha Sweeten at Satchel Projects. We also recommend Jennifer Coates at both HIgh Noon and Chart, Lesley Vance at Bortolami, Rachel Eulena Williams at Canada, and Amy Sillman at Gladstone. And then, don’t forget, we will have a slew of art fairs in our midst. We’ll be heading to the Future, NADA, and Independent fairs. See you out there.

Solo Shows

Lucy Puls: Meaning in obsolescence

Contributed by Talia Shiroma / Pink teddy bears, plastic ponies, and the blank face of a Mac 512 computer peer out from blocks of amber murk. They are among the discarded goods on display at Nicelle Beauchene Gallery as part of Berkeley-based artist Lucy Puls’s solo show, spanning works created between 1989 and 2003. For the series In Resin, which she began in the early nineties, Puls amassed secondhand items from thrift shops and encased them in translucent resin prisms. Ranging from a BB gun to records, these once-coveted objects now register as curiously impotent, floating in their chambers like specimens in jars. Although they are up for sale once more, the encased objects feel unobtainable, as if quarantined from both time and human desire.

Gallery shows Solo Shows

Joe Bradley: Merging night and day

Contributed by Natasha Sweeten / On a warm, sunny day that teased people outdoors, I stepped into Zwirner to catch Joe Bradley’s current exhibition, “Vom Abend.” Nine large paintings gleamed within the pristine gallery. I’d in fact been on my way to see another show, but at Zwirner I lingered and I looked, unexpectedly beguiled. Pretty soon I relaxed and accepted I’d be here a while.

Group Shows

Xingze Li and Sarah Pater: Extraordinarily quotidian

Contributed by Michael Brennan / As a close follower of the emerging art core in South Brooklyn, I seldom miss an exhibition at Yi Gallery. Its shows are invariably interesting and novel, perfectly and poetically installed. The primary space is currently featuring a nicely integrated two-person show of Xingze Li and Sarah Pater’s work, with individual exhibitions for each artist in the back. 

Solo Shows

Ian Myers: A painter’s faith

Contributed by Anna Gregor / Ian Myers’ paintings blur the lines between art, nature, and miracle, asking what painting’s vocation is at a moment when anything can be art, nature is under threat, and miracles are unfathomable. His five paintings, on view in his solo show “immortal flub” at New Collectors Gallery, are obviously art. Rectangles do not occur in nature, nor do the white gallery walls on which his rectangular paintings hang. But these rectangles don’t act like windows that allow us to enter an illusionistic space, as we expect from mimetic paintings. Nor do they reveal the human hand or thought processes that we assume to be involved in making abstract work. They eschew the exhibitionist gesture of Abstract Expressionism, the clarity of hard-edge abstraction, and the planned step-by-step process of much contemporary abstraction. 

Solo Shows

Farrell Brickhouse: The beat goes on

Contributed by Jonathan Stevenson / Farrell Brickhouse’s recent paintings, on view at JJ Murphy Gallery, embody aging and stamina and the grungy inventiveness that comes with them. In these terms, perhaps the signature piece is Summers End II, tucked away all by itself in the gallery’s rear alcove. Just a foot-and-a-half square, it is a still life of Rauschenberg-grade grit that holds court, depicting what looks like a vase of motley flowers on a stand, waning but defiant in the face of time. Distressed as they are, they look not just alive but capable of aggression. The work is textured in the extreme, Brickhouse having affixed to the canvas the congealed detritus of students’ pigment and painted thickly around it. It’s as though Chaïm Soutine or Frank Auerbach had possessed Morandi and gone to town.

Solo Shows

Mary Carlson: Timelessly medieval

Contributed by Adam Simon / I happened to visit Mary Carlson’s exhibition “Garden” at Kerry Schuss Gallery the day I finished reading Titus Groan, the first of Mervyn Peake’s Gormenghast novels, written in the 1950s. I’m not usually drawn to fantasy fiction – this book was a gift – but Peake’s dreamlike rendering of a forbidding castle with clinging ivy and bizarre inhabitants had me in thrall, primed to receive Carlson’s medieval world and its symbiotic relationships between plants and people. One of the characters in Titus Groan uses the ivy to scale the castle walls, while two others take tea on a tree that grows horizontally out one of the windows. While not exactly ivy, vines fashioned from copper piping figure prominently in “Garden,”often dwarfing the mostly female glazed porcelain saints that sit on modest carved wooden shelves. The untamed power of the natural world, and humanity’s marginal presence in it, is an underlying theme in “Garden” and very like the world described by Peake.