Peter Schjeldahl writes about the Color Chart show at MoMA: “Predominant are attitudes of ironic detachment that derive from Marcel Duchamp, whose rebuslike canvas of […]
An award-winning NYC blogazine, primarily about painting
Friday, December 19, 2025
Latest Posts
Robert Storr, at the margins
Contributed by Marjorie Welish / Robert Storr’s canvases are designed to counter expectations and require us to discard habitual taste. …
Diebenkorn at Gagosian: A remarkable curatorial accomplishment
Contributed by David Carrier / For a long time, I have always thought of Richard Diebenkorn as a great painter. …
Rob Lyon’s storm-free world
Contributed by Peter Schroth / Anyone with an aversion to charm might want to sidestep Rob Lyon’s seductive show at …
Artist’s notebook: Sage Tucker-Ketcham
On her return as a Two Coats of Paint Resident Artist, we invited Sage Tucker-Ketcham to contribute an “Ideas & …
palladium/Athena Project: Democratizing art
Contributed by Mary Shah / Greg Lindquist and Theresa Dadezzio, co-founders of palladium/Athena Project, just opened their inaugural show, “Works …
Kylie Heidenheimer’s ecstatic dissonances
Contributed by Bill Arning / Private Public Gallery has earned its reputation for mounting deeply considered exhibitions of painting that …
Matthew Miller: Hand to a humble god
Contributed by Jonathan Stevenson / For over twenty years, Matthew Miller rendered arduously meticulous yet mysteriously otherworldly portraits, mainly of …
Alex Katz’s seas of orange
Contributed by Tena Saw / Ninety-eight-year-old Alex Katz’s current gem of an exhibition at Gladstone consists of eleven orange and …
Lauren Clay’s organic sanctums
Contributed by Will Kaplan / In her solo show “Solarium” at Picture Theory, Lauren Clay compresses different scales of time …
Jennifer Bartlett’s demons
Contributed by Patrick Neal / During the late 1980s and ‘90s, the painter Jennifer Bartlett produced four major series examining …
×