Recent Posts

Solo Shows

Robert Yoder and the art of being alone

Contributed by Jonathan Stevenson / In his beguiling new show of abstract paintings, drawings, and collages at Frosch & Co., Robert Yoder elegantly demonstrates a truth of late modern art: that an object found and isolated, or visual representation shorn of context, is no more derivative or inferior than a given moment in time is subordinate to one that preceded or followed it. What makes it original is the artist’s unique choices in presenting it to the world – and, by implication, the singular experiences and insights that informed them.

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Gallery shows Lists

Two Coats Selected Gallery Guide NYC: June, 2022

Contributed by Sharon Butler / For the past week I’ve been holed up in my apartment with Covid, so I may not make it to your opening tonight. No need to send condolences — at this point it’s just a case of the sniffles and I’ve enjoyed hanging around the house. I’ll be back out in a day or two, bike riding around town and (once an academic always an academic) spending long, lazy days in the studio. There are a lot of good exhibitions to see this month including …

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Solo Shows

Gary Petersen’s Populuxe abstraction

Contributed by Patrick Neal / Full of bright and brimming lines and shapes, jumbled with quirky geometric forms and zippy colors, Gary Petersen’s paintings are giddy and uplifting. They bring to mind all manner of fun – vacation, travel, cartoons, toys, television, Creamsicles, candies, fruit slices and braided rag rugs, the flamboyant bills of toucans and pelicans. More deeply, his large abstract paintings exude a retro, utopian vibe that marries the hard-edge abstraction of late modernism with some of the quirkier strains of twentieth-century design.

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Museum Exhibitions

Philip Guston’s existential ferocity

Contributed by Laurie Fendrich / The revised exhibition, at the Museum of fine Arts in Boston, with 73 paintings and 23 drawings, is a team effort mounted by the museum’s two curators, two guest curators, various museum staff and educators, the critic Homi Bhabha, and a trauma counselor who crafted a statement about “emotional preparedness” for the show. It begins: “The content of this exhibition is challenging. The Museum offers these words in a spirit of care and invitation.” Midway through the exhibition, visitors who find the material too disturbing can leave through a special exit before they encounter particularly vivid Klan imagery.

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Solo Shows

Sister selves: Sasha Gordon and Maud Madsen

Contributed by Margaret McCann / In Sasha Gordon’s “The Hands of Others” at Jeffrey Deitch and Maud Madsen’s “Daisy Chain” at Marianne Boesky, fleshy females are pressed on the picture planes as if between corporeality and social stress. All are self-portraits, but the figures read more as types performing hidden allegories.

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Solo Shows

Louis Osmosis’ gleeful despair

Contributed by Jacob Patrick Brooks / Titled “PLEASE IT IS MAKING THEM THANKS:),” Louis Osmosis’s debut solo show at Kapp Kapp Gallery in Tribeca feels like a 1,000-piece puzzle that’s been dumped on a table. Everything fits together, but it’s not immediately clear how.

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Solo Shows

Edith Schloss’s deep cheer

Contributed by Jonathan Stevenson / As the title “Blue Italian Skies Above” suggests, walking into the exhibition of Edith Schloss’s paintings now at Alexandre Gallery produces a kind of pastoral contentment. But don’t be fooled into thinking she was a shallow, acquiescent Pollyanna. Lurking in that casual lightness is a distinct quality of mortality and limitation.

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