Contributed by Rick Briggs / If I’m being completely honest, for years I never completely got the work of Anke Weyer. Sure, she’s always had all the right moves – bold color, loose paint handling, and a juicy surface, all of which gave her work directness, spontaneity, and immediacy – but something felt off. The color was mostly discordant, and the gesture appeared merely aggressive, with an attitude that seemed anarchistic, almost like a form of punk nihilism. My perception began to change with “Nocturnes,” Weyer’s 2024 show at CANADA. I noticed the paintings began to slow down with masses of organic color shapes in works like Lucky, Sleepless and Monster.
Tag: Canada
Ken D. Resseger: Closer to creation
Contributed by Michael Brennan / In blues, there’s a tradition of over-practice, the idea being that the same song played thousands of times, and thus mastered, might yield something new about its nature, revealing a hidden room. My own artistic bias has long been to err on the side of underdevelopment. Ken Resseger, who was a student of mine over 25 years ago, back then overpainted. But, while his work could be labored, it often opened an entirely new world. As an older, seasoned painter, he has become something of a visionary in the very American vein of Martin Johnson Heade – a naturalist who painted exotic, realistic, yet unnatural landscapes.
Katherine Bradford: Heaven on Earth
Contributed by Rick Briggs / To one growing up Catholic, heaven and hell were in no way, shape, or form mere metaphors for possible destinations in the afterlife. They were very real places to spend all eternity, either heavenly salvation or eternal damnation. Forty years ago, Katherine Bradford proposed an exhibition to Chris Martin and me titled “3 Catholics.” While it never took place, the idea was to gather three lapsed Catholics who shared that particular cultural grounding and also similar painting values, and who were all now earnestly in pursuit of our new religion – Painting. This memory came wafting back to me the morning after viewing “Arms and the Sea,” Bradford’s solo show of remarkable new paintings at Canada.
Robert Janitz: Reverie over reality
Contributed by Sharon Butler / �Library of a Dream,� Robert Janitz�s elegantly installed exhibition, on view at Canada through January 21, is a knockout. Janitz spent years in intense meditation communities, making paintings that seemed primarily about the physical experience of making the object, reflecting palpable focus and presence. Now he appears compelled to turn his attention gingerly outward and explore a somewhat more playful approach.
RJ Messineo: Existential magic
Contributed by Rick Briggs / Gold Gold, RJ Messineos second solo exhibition at CANADA, is both a cohesive and a dynamically exciting effort. They make abstract paintings, often irregularly shaped, with plywood panels that are attached to the canvas with strong, rare-earth magnets.
Katherine Bradford: Consoled and consoler
In her show at Canada, Katherine Bradford’s colors and brushwork radiate a sense of unrestrained joy in material, barely contained by the limits of the canvas.
Joan Snyder: Painting from the inside out
Contributed by Jason Andrew / In a 1976 Cincinnati Enquirer review of Joan Snyder�s paintings, the reviewer, Owen Findsen, surmised that she had �picked up […]
NY Times Art in Review: Leon Kossoff and Xylor Jane
“Leon Kossoff: From the Early Years, 1957-1967, “Mitchell-Innes & Nash, New York, NY. Through March 28. Roberta Smith reports: This show is an informative treat. […]
Matt Connors at Canada
In his first solo show at Canada, Matt Connors presents a predictably sloppy version of modernism. Although I don’t see the “rigor of an Ellsworth […]




































