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Solo Shows

JoAnne Carson: Raucous retro-futurism

Contributed by Mary Jones / Exuberance is a word frequently used in describing the work of JoAnne Carson, and, in “Cosmic Chatter,” her first solo show at DC Moore, it’s in hyperdrive. Twelve large, colorful paintings share the main gallery space with one eight-by-six-foot monochromatic sculpture of an intricately crafted white flowering tree. Placed near the entrance, the sculpture serves as a three-dimensional model and introduction to the paintings. The fragile delicacy of this surprising and marvelous object resembles an encounter with a conjured specimen preserved in ice, a fact among fiction. 

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Solo Shows

Robert Yoder: The gravity of modesty

Contributed by Jonathan Stevenson / If On Kawara’s monumentally quotidian work was about the objective significance of the simple passage of time, Robert Yoder’s may be, in turn, about the subjective importance of each passing moment however uneventful. “I Was the Other Conversation,” his solo exhibition of untitled paintings (and one beguiling wooden carving) now up at Frosch & Co., continues his discerning visual exploration of how, psychically, people live.

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Conversation

Suzanne Joelson: Collecting information into sensation

Contributed by Leslie Wayne / For as long as I’ve known Suzanne Joelson – over 40 years now – she has pushed the limits of painting, much as I have tried to do. In what is now an abundantly expanded field, though, I have wondered whether we have much to push against anymore, which makes the endeavor all the more challenging.

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Solo Shows

Claudia Parducci: Catching the falling dust 

Contributed by Doug Milford / Good art can have multiple sources of meaning – material, color, scale, intention, chance, change, process, metaphor, ontology, epistemology, philosophy, biography, zeitgeist, history, and more. These may or may not be apparent or even deliberate, but they make up the work’s internal structure and shape its style. Ideally though certainly not always, these influences operate in concert while remaining distinct. The nine works in Claudia Parducci’s exhibition “Blue”, at Ochi Gallery in Los Angeles in February and March, achieve this balance, both as individual pieces and as an ensemble. The six years that had passed since her previous show included a three-year hiatus from painting after the death of her husband, the artist Peter Alexander, in 2020. This body of work was a response to his passing. 

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Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide, September, 2025

Contributed by Sharon Butler / Make today a day you, like me, refrain from doomscrolling in despair or listening to pundits vainly in search of packaged optimism. Cued by this guide, you might instead opt for art feeds on Instagram and ultimately the shows themselves because nothing is more hopeful than art in the fall in New York. We kick off the first week with the art fairs and then turn our attention to gallery exhibitions, hopping from neighborhood to neighborhood, absorbing new work by artists we’ve known for years and others we’ve never met. For a good time, this is the place to scroll.

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Gallery Guides Hudson Valley & Vicinity Gallery Guide

Hudson Valley (+ Vicinity) Selected Gallery Guide September 2025

Contributed by Karlyn Benson / The summer heat has given way to mild and sunny weekends, making it the perfect time to explore the Hudson Valley. There are notable exhibitions opening throughout the month, starting on September 6 with What’s That Sound Everybody Look What’s Going Down, a group show at Private Public in Hudson including work by Richard Artschwager, Ross Bleckner, Sharon Butler, Michael David, James Esber, Ellen Kozak, Stephen Maine, Donna Moylan, Michael Rodriguez, and more….

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Solo Shows

Tom Butler’s emotional twilight zone

Contributed by Mark Wethli / Technical drawing – the kind we see in plans, elevations, and orthogonal perspectives – is not the obvious choice to explore feelings of isolation, sadness, or loss. For over a century, the painterly gesture has been the primary signifier of these emotions, while drafting has been the province of the designer and the engineer.  Given this disparity, Tom Butler’s choice of this medium, in his show “I Became a Room” at Sarah Bouchard Gallery in Woolwich, Maine, is a surprising one; not for its own sake but the result of a creative process that transforms the art of technical drawing in unexpected and meaningful ways.

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Resident Artist

Two Coats Resident Artist: Anne Hayden Stevens, September 14–19

Contributed by Sharon Butler / In September, Two Coats of Paint welcomes Chicago-area painter Anne Hayden Stevens. Her primary endeavor is to examine how we navigate and relate to physical and psychological spaces. How do we claim territory, seek refuge, and forge paths, literally and metaphorically? Her deft brushwork captures the psychological nuance of this exploration, creating surfaces that from a remove present as bold but reveal their fragility up close. Images of shadowed groves seem to offer sanctuary, and tiny, meandering figures speak to one’s often precarious search for a place in the world.

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Opinion

Who’s afraid of the big bad idiot?

Contributed by Jacob Patrick Brooks / In “The Art Critics Who Don’t Want Good Art,” Anna Gregor describes a cultural hospice. The caretakers are a set of bad actors. They’re online critics who have replaced the labor of criticism with the catharsis of complaint, trading in “likes and clicks” for a smooth, sugary candy that requires only passivity and attention from its audience while it rots their teeth. This feedback loop, she argues, drowns true engagement and criticism in a “deluge of mediocre art.” It is a compelling diagnosis, but one delivered from the one place a critic cannot afford to be: behind a veil. Gregor deals exclusively in archetypes and generalizations while allowing the reader to “fill in the picture.” The playboi, the intellectualist, the yelper, and so on. She’s built a perfect haunted house and populated it with ghosts of her own making. 

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Gallery shows

The Tomayko Foundation: Four artists and the promise of Pittsburgh

Contributed by David Carrier / Sobia Ahmad makes silver fiber prints and inkjet images responding to Sufi traditions of poetry and oral storytelling. Her The Breath within the Breath is a 30-foot-long inkjet print on Japanese paper, mounted on a platform running diagonally across the gallery. Maggie Bjorklund does oil paintings. Her Assumption of the Virgin (After Titian) is a close-up rendering of that subject. Centa Schumacher manipulates photographic images, and her Salt Fork, Rain on Lake superimposes a white circle on an archival inkjet print. Elijah Burger had developed private codes of quasi-abstract images, like Hex Centrifuge. The unifying theme of the four-artist exhibition “I Believe I Know” that includes this work, now up at the Tomayko Foundation in Pittsburgh, is concern with transcendence. With due reference to William James’s The Variety of Religious Experience, the four artists’ shared goal is to offer visual presentations of mystical experiences. That is a familiar and traditional modernist theme, but here it receives strikingly original treatment. 

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Opinion

The Art Critics Who Don’t Want Better Art

Contributed by Anna Gregor / If yesteryear the call for negative art criticism rang clear and true, today complaints about the state of art blur into an inarticulate whine. Be they artist or critic, Marxist or capitalist, academic or anti-intellectual: everyone is dissatisfied. Or so it seems. Despite their complaints, however, one starts to suspect that few of the YouTubers, Substackers, or Instagrammers who presume the title of critic want the circumstances they complain about to change, so lacking are they in convincing diagnoses of present problems and convinced visions of alternatives, not to mention actual critical engagement with artworks.

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Gallery shows

A Golden year: Art amid iniquity

Contributed by Jonathan Stevenson / For a group show keyed to current events, the trick is to balance political messaging with the stream of life, achieving provocative encapsulation without preachiness. “Made in Paint, Twelve” at the Sam & Adele Golden Gallery of Art, situated in the legendary Golden Artist Colors paint factory in New Berlin, New York, pulls this off with style and heart.

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Solo Shows

Cecilia Whittaker-Doe’s lush life 

Contributed by Patrick Neal / Cecilia Whittaker-Doe’s current show at the Interchurch Center on the Upper West Side, comprising close to 50 works, sheds generous light on her process, range and subject matter. The exhibition’s title, “Beneath the Trees it Rains,” conveys the dynamism of Whittaker-Doe’s landscapes, which demonstrate nature’s seasonal abundance and power.

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Solo Shows

Hannah Barrett’s alchemical archivists

Contributed by Wells Chandler / Inserted in extravagant interiors, the hybrid creatures in Hannah Barrett’s paintings, now on view at Schoolhouse Gallery in Provincetown alongside the work of four others, embody both psychic and material liminality, performing the delicate work of chronicling personal and cultural becoming. As seraphic intermediaries contemplated by the likes of Hildegard von Bingen, Barrett’s elastically protean tricksters play as queer homunculi, perhaps resurrected from the margins of illuminated medieval manuscripts, reanimated and thriving in Victorian polychrome. Cloistered in very gay Akashic libraries, they are fierce androgynous gatekeepers, summoning rune light from somewhere over the rainbow.

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