An award-winning NYC blogazine, primarily about painting
Friday, December 19, 2025
Contributed by Bill Arning / Private Public Gallery has earned its reputation for mounting deeply considered exhibitions of painting that honor artists who have spent decades refining their own private grammars of mark and color. Entered through a small garden – an architectural prelude that feels almost ceremonial – the gallery offers a perfect threshold for work that rewards slow, attentive looking. “Here, Elsewhere,” Kylie Heidenheimer’s first solo exhibition there, is fully in that lineage.
Contributed by Marcy Rosewater / “Cautionary Tales,” a retrospective of works on paper by artist Harvey Weiss, is located in Holden House, a grand old mansion in historic Newburgh, New York, now restored and hosting occasional art exhibitions. Both the work and the house beckon melancholic remembrances. The show comprises paintings, drawings, and collaged and manipulated magazine pages and photographs, spans almost 40 years, and presents twelve distinct series. Each begins with a familiar image that undergoes a transformation revealing the artist’s emotional, physical, conceptual, and spiritual processing, yielding a narrative duet between what is seen and what is felt.
Contributed by Ben Godward / Meg Lipke and Jeff Williams seem to dance through the fledgling Roundabouts Now Gallery – once a medical office conference room in an industrial park – in Kingston, New York. The central collaboration comprises a large sewn and stuffed canvas with ruin-like drawings enveloping three deliciously odd sculptural objects. This union casts a pervasive spell. Pushing the interior accretion forms further into the unreal are surfaces that appear to be made of dust or remnants of ashes. Spectral in their essence but protected in the upholstered pool, they look as if they could dissolve into a pile if touched.
Contributed by Jonathan Stevenson / Elisa Soliven sees her dignified ceramic sculptures, now on display in a faultlessly curated solo show at LABspace in Hillsdale, as vessels containing the rich stuff of life – space, time, cultural tropes, history both grand and personal. Too eclectic and searching to be merely iconic, they are brimming with both old and new referents, and bear their weight with extraordinary grace.
