An award-winning NYC blogazine, primarily about painting
Thursday, December 18, 2025
Contributed by Mary Shah / Greg Lindquist and Theresa Dadezzio, co-founders of palladium/Athena Project, just opened their inaugural show, “Works on Paper,” featuring an impressive 175+ artists at their new curatorial space in Greenpoint, Brooklyn. I sat down and talked with Theresa and Greg about the project.
Contributed by Jonathan Stevenson / For over twenty years, Matthew Miller rendered arduously meticulous yet mysteriously otherworldly portraits, mainly of himself as subject and almost always against a maximally opaque black background betraying no brushstrokes, evidently free of human imperfection.
Contributed by Lucas Moran / Maybe death isn’t final but simply a door leading into another room. That feeling ran through “Often I am Permitted to Return to a Meadow,” an excellent group show at Active Space in Bushwick curated by Patrick Bower and Robert Zurer of Immaterial Projects. It tapped into whatever lies just beyond perception: the subconscious, the occult, the spirits, the talismans, the circus freaks. Everything half-seen or half-remembered was allowed to take shape. If contemporary painting has drifted away from figuration and identity, this show suggested we may be heading towards something more concealed – art that conjures rather than describes, call it hiddenist painting, embracing what is buried, invisible, or occulted, where death, memory, and imagination loop into one.
Contributed by Marjorie Welish / The group show “Fold, Drape, Repeat” now up at Ceysson & Bénétière does what it says. A select showing of work by the loosely aggregated French collective Supports/Surfaces, the exhibition embodies the very assembly involved in making art. Offbeat maneuver never succumbs to product or merchandise. Put another way, each individual artist emphasizes how the construction of art respects the commonplace materials at hand.
Contributed by Jonathan Stevenson / Most New Yorkers couldn’t live without the subway. It is their savior if occasionally their oppressor. They love it so much that they hate it when it lets them down, but the opprobrium is often oddly affectionate. Barroom arguments have fulminated and flourished over which subway line is worse – the F or the 7, the 2 or the L. Patronizing the subway can be a point of gritty cosmopolitan pride: real New Yorkers don’t use Uber. And it’s a great social equalizer, as reflected in Ralph Fasanella’s 1950 folk-art painting Subway Riders, now ensconced in the wall of 53rd Street/Fifth Avenue Station and as idealistic as ever. “Subway Riders” the group show is now up at Springs Projects. It keenly captures the subway’s pervasive, multivalent thrum through New York life with work by over 100 artists and a few eager amateurs (one is me).
Contributed by David Carrier / Anyone old enough to remember Claude Levi-Strauss’s books on structural anthropology or Rosalind Krauss’ famed structuralist account of sculpture, all richly suggestive sources of art theory, will likely appreciate “Building Models: The Shape of Painting,” currently up at the The Milton Resnick and Pat Passolf Foundation and curated by Saul Ostrow. The central question he poses is how you construct a painting. In the 1960s and 1970s, when painting was beleaguered and political experimentation was a related concern, tribes of New York artists were consumed with answering that question.
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.
Contributed by Mark Wethli / On a small shelf in a quiet corner of Sarah Bouchard Gallery in Woolwich, Maine, sits a dog-eared paperback copy of Lewis Hyde’s Trickster Makes This World: Mischief, Myth, and Art. With a growing sense of delight, we soon realize that the book is itself a trick, a trompe l’oeil sculpture by Justin Richel, convincing in every detail from its vintage 1990s graphics to its well-worn cover….It is a fitting overture to “You Don’t Know Me,” the four-person show currently on view. The artists – Carly Glovinski, Rachel Grobstein, Duncan Hewitt, and Richel – present kindred explorations of parallel realities, producing conundrums and contradictions that give rise to visual enchantment and philosophical contemplation.
Contributed by Zach Seeger / One day, the polyglot, not-quite-formed figurative painter Alfred Jensen was sitting at his desk in his studio mulling over what to do next. A world traveler, he had a bounty of books, cutouts, and sketches of glyphs, logograms, symbols and signifiers nesting in his studio. But he was stuck. Then Mark Rothko knocked on the door for a studio visit. After a few long drags from his cigarette, Rothko gestured to the byzantine bric-a-brac on Jensen’s wall and said, “You know, Alfred, that’s your work. Paint that.” From that point forward, Jensen changed how and what he painted. Via sticker-book color and flourish, “Gritty Rituals,” a thoughtfully energizing group show at Equity Gallery, recalls the schematic proto-pop that Jensen teamed with imagist distortion and tantric and somatic references.
Contributed by Jonathan Stevenson / “Out of the Blue” at Frosch & Co boasts a tight concept and adds real snap to the conversation presumed suspended until after Labor Day. The idea is to explore how the color blue ramifies through the lenses of different painters. That might seem like a merely modular survey, since other colors too have distinct connotations. But blue’s, as the gallery’s press statement notes, seem to swing more dramatically – between cool and warm, masculine and feminine, obscene and pure, barbaric and royal, stormy and serene. This quality makes for an unusually rich array.
Contributed by Riad Miah / After graduating from Pratt and spending a few years staging and curating pop-up shows and one-night events, Devon Gordon opened the ambitious new Zepster Gallery in Bushwick last May. The title of its second exhibition, now up, is “Oh, To Leave a Trace,” after a chapter of Mary Gabriel’s acclaimed book Ninth Street Women. The show features three female artists whose work continues in the contemplatively feminist vein that the book frames.
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 Jeffrey Grunthaner / Properly curated, summer group exhibitions can open novel avenues between disparate artists and particular creative practices. “Made in Cologne,” currently up at Peter Freeman, Inc., decidedly accomplishes this. The conceit of the show is simple: the 15 featured artists have all made ceramic works at the atelier of Niels Dietrich in Cologne, Germany. Founded in 1984, Dietrich’s studio specializes in ceramics and showcases how plastic this medium can be. The expressive character of the exhibition derives in part from the variety of styles and attitudes on display. But all embrace the unique nature of ceramics in one way or the other.
Contributed by Sharon Butler / After a lengthy stretch during which emerging painters have leaned into commercial preferences for the traditional, many seem to be breaking free from the market’s emphasis on imagery and narrative. Painters with a penchant for experimental, near three-dimensional approaches have bounced back into the conversation they commanded in the early 2010s. Three current exhibitions, all curated by artists, reflect various aspects of this phenomenon.
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?
