Contributed by Sharon Butler / To understand Elisabeth Condon’s paintings, it seems important to know that she grew up in California in a highly decorated house where she spent hours staring at the wild patterns of the fabrics and wallpapers. The experience certainly informs her exuberant paintings, in which pattern, flower, landscape all co-exist, as she says in her artist statement, in living, breathing presence.
Contributed by Sharon Butler / Lauren Luloff’s rigorous new paintings, on view at Fridman Gallery through July 24, have taken a decisive turn away from organic form, floral patterns, and flowing structure towards compulsive geometric pattern.
The principal of our junior high school was a felon. His name was Mr. Phillips. He was a short man – as short as we were – with a large head of thick hair and dark-rimmed glasses. We called him “Froggy” behind his back. The cops arrested him in a motel parking lot holding up a prostitute at gunpoint. The story made the front page of all the local papers. They said the gun wasn’t loaded, but he was. People talked about it for weeks, maybe longer. Everyone was astonished that Mr. Phillips had signed his real name in the motel register. For this they called him an idiot.
Contributed by Saul Ostrow / Jeremy Gilbert-Rolfe has subtly set aside received truths about abstract painting, engaging it as a philosophical subject consisting of things which, regardless of differences of form and content, have been assigned the same classification.
Contributed by Jacob Patrick Brooks / In “Plus,”Geoffrey Chadsey’s inventively grotesque show of drawings at Jack Shainman Gallery, the men are endlessly customizable, like sets of Mr. Potato Heads, but with dad bods instead of plastic blobs.
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.
The explosion of impressive exhibitions in the Hudson Valley region continues. New galleries include Analog Diary in Beacon, a joint project between several NYC galleries, and Turley Gallery, which opened in Hudson.
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 …
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.
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.