Contributed by Jacob Cartwright / There’s a quiet conversation happening on either side of the Grand Street subway stop between two artists who, measured as they are, have a lot to say to each other. To the west is Alison Hall’s “spirits (where the water tastes like wine)” at Kate Werble Gallery, to the east Pete Schulte’s “Neither-Nor Stone or Not Not-a-Rock” at McKenzie Fine Art. The more you look for correspondences the more you find, and the fact that their bodies of work are not overtly similar means that each stands to illuminate the other.
Tag: Cy Twombly
Susan Rothenberg: The way things can’t be
Contributed by Jason Andrew / Susan Rothenberg’s exhibition “The Weather,” now up at Hauser & Wirth, is a rare chance to experience the breadth and intensity of one of most vital influences in American painting. The exhibition gathers fourteen works from across her career – horses, fragmented bodies, and spectral forms – some rarely or never before exhibited. Rothenberg told the LA Times in 1983 that she liked to think of the subjects in her paintings as being “swept along in unconfined space by forces of weather” – rendered in thermal swirls and blizzardy brush marks – and the exhibition is structured around this idea.
The FLAG Art Foundation contemplates the meaning of “rose”
Contributed by Almog Cohen-Kashi / A rose has never had a fixed meaning. This simple flower swings between adoration and destruction, purity and rot, natural beauty and artificial symbolism. Seamlessly interlacing art history and literature, “A Rose Is” at the FLAG Art Foundation brings together 39 artists of varying generations and backgrounds for a poetic exploration of how society views an idealized plant to project shifting attitudes towards love, romance, commercialism, commemoration, and decay in an elegantly curated exhibition….
Andrea Belag: Fusing gesture, light and color
Contributed by Riad Miah / Andrea Belag, in her current exhibition, “Twombly’s Green”at Steven Harvey Fine Arts Projects, uses oil paint as a calligrapher might, employing sweeping gestural marks, scrapes, and wipes, as well as color itself, as her visual vocabulary. The paintings, of course, are not to be “read” in a linear manner but rather to be encountered and experienced.
Cy Twombly’s juggling act
In the NY Sun David Cohen writes that the Cy Twombly retrospective at Tate Modern is a reminder that no matter how intellectually ambitious, above […]
Studio visit with Cy Twombly
“It is always a privilege to visit an artist in their studio.” says Tate Director Nick Serota, who recently visited Cy Twombly in Rome and […]


























