From the press release for William Powhida’s second solo show at Postmasters (pictured above): Overculture 1:(noun)1.a small cultural group (artists) within the larger culture, often affirming the beliefs or interests of the ruling class (collectors).“The two parties thus engage in an uneasy courtship around unspoken divisions and unacknowledged […]

In the last few years, much has been made of hybrid paintings that re-purpose canvas and stretcher bars to create sculptural objects. In her solo at Jack Shainman, Leslie Wayne takes a brilliant tangent, presenting small-scale objects made from oil-paint skins that she folds to look like cloths. In the […]

Gregory Amenoff has discovered a new decisiveness. He generated his previous paintings improvisationally, arriving at images directly through the process of painting. In contrast, Amenoff’s new large-scale canvases are based on small pencil studies, which he made during a trip to Paris in the summer of 2012. “I was staying […]

At The Brooklyn Rail this month, Elizabeth Baker, former editor of Art in America, served as guest editor to the Art section, asking contributors to consider the question, “What’s new?” Writing in her introduction she suggested that Among the artists, words like �progress,� �innovation,� and �originality� barely crop up. Yet […]

In his review of Jubilation/Rumination: Life, Real and Imagined, the new exhibition at the American Folk Art Museum, Ken Johnson neglected to mention that there are two paintings by Ralph Fasanella (American, 1914-1997), a self-taught artist whose large, detailed depictions of the urban working class critiqued post-World-War II America. An […]