Contributed by Sharon Butler / This month, many galleries are taking a well-deserved break after a shitshow of a year. A few, though, are curating through the heat and hanging new shows. At Karma, Jane Dickson holds forth with a series of amusement park nocturnes. 5-50 presents in “Becoming Otherwise” – paintings by Jocelyn Fine, Will Hutnick, Geist Topping, and Peter Schenck that crackle with energy in LIC. Deanna Evans Projects’ “ExtraOrdinary” features unsettled scenes of American home life by Lisha Bai, JJ Manford, and Ann Toebbe. At Margot Samel, Glasgow gallery Kendall Koppe presents Laura Aldridge, while Essex Flowers mounts “Overhang 2,” a ro art services pop-up riffing on the idea of summer group-show abundance and community. At The Hole, on Bowery, don’t miss “Herbivore,” which includes work by Bushwick stalwart Ben Godward.
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Amy Sherald’s American dreams
Contributed by Margaret McCann /Amy Sherald’s paintings of mostly ordinary and upright African Americans, in “American Sublime” at the Whitney Museum, transcend portraiture, vaulting to socio-political metaphor. Their evocative titles – drawn from Emily Dickinson, Zora Neale Hurston, Toni Morrison, and other cultural figures – suggest an array of personalities or experiences. But the exhibition title, from Elizabeth Alexander’s poem of the same title, unsettles our understanding of what both figures and viewers behold.
The Somatic Paintings of Erika Ranee
Contributed by Wells Chandler / Skin is the largest organ of the body, home to over four million pores, each one a threshold. The epidermis is not merely a boundary but a porous membrane between self and environment, a breathing eye through which consciousness meets the world. The canvas, like the body, is an envelope of sensation, holding a field of awareness that does not end at its edges.
Beck Lowry: Fusing Modernism and global craft
Contributed by Will Kaplan / Beck Lowry’s sculptural paintings act as vessels. But what do they hold? Memory? Sensation? Labor? Five such pieces comprise “First Storm,” at Yossi Milo Gallery, the artist’s first New York solo show. In its earthen palette and irregular construction, the work resembles ceremonial objects, though the associated eras and cultures remain mysterious. For understanding the art’s function and what it contains, Lowry’s process is key.
We happy few: Band of sisters at Lubov
Contributed by Amanda Church / Happiness is … three dynamic, joy-producing artists under one roof, a phenomenon realized by curator José Freire in the three-person show “Acquaintance” – Episode One of the Happiness Project – at Lubov Gallery in Chinatown. The show brings together Linda Daniels, Marilyn Lerner, and Jill Levine, all of whom showed at some point with Freire at Fiction/Nonfiction in the East Village in the late 1980s or thereafter after at Team in Soho. This show marks Freire’s first curatorial project since Team closed in 2020, and the spirit is upbeat and sanguine, in line with Pharrell Williams’ exhortation to “clap along if you know what happiness is to you.”
Ariel Bullion Ecklund, August 3–8
Contributed by Sharon Butler / Next month, Two Coats of Paint Residency Program welcomes Ithaca, NY, artist Ariel Bullion Ecklund. Ecklund creates ceramic objects and photographs that draw from the memories she accumulates as she moves through the world. Universal themes such as absence, impermanence, memory, and yearning inform work that is also deeply personal. For our next resident, our bodies hold memories as much as our minds do. This understanding is the foundation for everything she makes.
Allen Berke and Lise Soskolne: A world distorted
Contributed by David Whelan / “Esthetic Bomb Shelter,” at Ulrik gallery, comes at a time of overwhelming crisis. Conflict and hostility seem to have entered every aspect of life without clear exits. Painters Allen Berke and Lise Soskolne tap into this quandary by visualizing moments of discontent and unease, abstracting form and narrative. Though unsettling, the works are also strangely enjoyable, prompting a kind of cognitive dissonance in the viewer.
Polina Barskaya’s richly simple world
Contributed by Peter Schroth / Artist Polina Barskaya – born in Ukraine, raised in Brooklyn, now living in Italy – paints intimate portraits of domestic life. In “The Good Life,” her current exhibition at Harkawik, the life in question encompasses a self-contained triangle of father, daughter, and mother, the latter being the artist and observer. It’s hard to take such a title at face value – especially, perhaps, in light of current events. Except for one painting set in a courtyard, the strictly interior world of the home – be it a private residence or a hotel room – is depicted. Each scene is rendered within a symmetrically balanced box in one-point perspective and contains a central anchoring element. These snug spaces take on a womb-like character, suggesting not only nurture or shelter but also isolation.
Georges Rouault: The spirit of the visual
Contributed by John Goodrich / Georges Rouault’s star has fallen considerably since 1945, the year the curator and collector James Thrall Soby dubbed him “one of few major figures in 20th century painting.” The artist’s religiosity and stained-glass-window style are not so captivating today. …The 21 paintings now on view at Shin Gallery invite a reassessment. Organized in conjunction with Skarstedt Gallery, the exhibition offers a particularly strong selection of the Rouault’s work.
Two Coats Resident Artist Sage Tucker-Ketcham, July 20–25
Contributed by Sharon Butler / This month, Two Coats of Paint welcomes Vermont artist Sage Tucker-Ketcham. Sage’s recent nature-based work operates in the space between observation, memory, and imagination. Each painting begins with something she saw on a walk or caught in her peripheral vision from a car window – moments that lodge into her consciousness, like seeds waiting to germinate.
Glenn Goldberg and Mary DeVincentis
Artist Glenn Goldberg sat down with painter Mary DeVincentis during her recent solo show at Tappeto Volante Projects to explore the connections between personal experience and artistic expression. Their conversation reveals an artist whose work emerges from a lifetime of witnessing — from childhood visits to a state hospital where her mother worked as an art therapist, to her journey through loss and spiritual questioning. They discuss her latest series — paintings of solitary women who inhabit liminal spaces between memory and projection. DeVincentis discusses how her recent discovery of aphantasia — the inability to form mental images — has shaped her simplified visual vocabulary. She also draws inspiration from mythological women punished for disobedience, reimagining them as empowered by their behavior.
Hudson Valley (+vicinity) Selected Gallery Guide: July 2025
Contributed by Karlyn Benson / The Hudson Valley region is gearing up for Upstate Art Weekend, which runs for five days, from Thursday, July 17 through Monday, July 21. This year’s edition includes over 155 participants, with dozens of openings, performances, artist talks, and other events. July is a great month for excursions to the Catskills to explore an expanding selection of galleries and art spaces. Highlights include Arlene Schechet’s solo show at Catskill Art Space and Leo Koenig’s outpost in Andes. Another not-to-be-missed summer event is Art Omi’s Open Studios on July 12 from 1–4 pm. It’s the last chance to visit Pamela Salisbury Gallery in Hudson, as they are closing their current location on July 20. In Beacon, Mother Gallery reopens after a break in programming to present Line Load, a group show with work by Kerri Ammirata, Trudy Benson, Lauren Anaïs Hussey, Meg Lipke, and Paola Oxoa.
Lina McGinn’s whimsical gravitas
Contributed by Jonathan Stevenson / “Dear John” – Lina McGinn’s absorbing and ostensibly playful solo show of sculptures at the expansive Europa Gallery in the Two Bridges neighborhood – manifests fine technique and a conceptual sensibility deeper than it might first appear. Using fiberglass resin and polymerized gypsum to isolate and fix discarded and distressed cardboard boxes in a range of anthropomorphic poses, she achieves something quite familiar in art – the personification of inanimate objects – in a singularly inventive way.
NYC Selected Gallery Guide: July, 2025
Contributed by Sharon Butler / A special note to New Yorkers who, like me, are loath to leave the city over holiday weekends or at any point during the summer, really: always check to see if galleries are open on Saturday. Chances are they aren’t. Many gallerists, kind of like Bartleby, simply prefer to close up shop for the entire long weekend. Other galleries, possibly your favorites, are shuttered until late summer or early fall, back to work only after the dust has settled from the September art fairs and blockbuster openings. For the hardcore stay-cation crowd of course, a slew of wonderful group shows are on view – sometimes freewheeling affairs in which emerging artists hang alongside more established ones we know and perhaps love. Where possible, I’ve listed the artists in each show so that you can hunt down the names already on your radar or target a few less familiar up-and-comers. Some of my best memories involve wandering around a nearly empty gallery with the editor on a sweltering summer afternoon and then ending up in a dark hideaway, drinking pints and arguing about the shows we saw. Save the shore for the off-season. As my mother, a woman who lived in a seaside town for most of her life, used to say, why go to the the beach in the summer? It’s a mob scene!
Rachel Ruysch: Late bloomer
Contributed by David Carrier / Significant twentieth-century artists occasionally depicted flowers. Andy Warhol was one, Ellsworth Kelly another. But it’s hard to think of any major painter today who focuses predominantly on them. Rachel Ruysch (1664–1750) lived in a very different world. Thanks to the bountiful worldwide empire of Golden Age Holland, even this stay-at-home painter could obtain an amazing variety of imported flowers. The Toledo Museum of Art’s “Nature into Art,” drawn from her 150 surviving works, is, improbably, the first major exhibition devoted to her. Botany thrived in Ruysch’s time due in part to Dutch imperialism. Flower painting became a major artistic genre, and she and her rivals enjoyed access to an enormous variety of exotic flowers (and insects). Critics rightfully consider her pre-eminent. “At her best,” the catalogue says, “Ruysch painted like a novelist, creating scenes within a framework at large.“ Indeed, her intricately crafted, remarkably varied paintings convey the story of Dutch capitalism.


































