An award-winning NYC blogazine, primarily about painting
Friday, January 30, 2026
Contributed by David Carrier / The Guggenheim has frequently presented the work of Wassily Kandinsky (1866–1944). Now, finally, the museum has provided the opportunity to celebrate Gabriele Münter (1877–1962), Kandinsky’s domestic partner of ten years and a fellow founder of the Blue Rider Group – the Munish-based network of artists that pioneered German Expressionism just before the First World War.
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.
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.
Contributed by Michael Brennan / In Cathy Lebowitz’s “Dark Skies, Rocks, her second solo exhibition at Skoto Gallery, about two dozen themed works on paper wrap around the walls of the cinderblock space. Many are washy gouache paintings, others are dash-marked drawings. Her paintings are painterly and her drawings graphic, exemplifying soundly medium-specific discipline. The works are refreshingly small, about the size of a writing tablet or an iPad, inviting closer inspection. I felt an unusually direct connection to the artist through what can be described as microcosmic meta landscapes, extending from her hand through her studio, as if directly sourced in real life
Contributed by Margaret McCann / Vincent van Gogh drew from many sources in his short, intensely inventive career. “Van Gogh’s Cypresses,” now up at the Metropolitan Museum of Art, highlights his encounter with the Mediterranean conifer. A symbol of mourning, it dramatically punctuates the Tuscan landscape, and appears in paintings by Leonardo, in Arnold Bocklin’s Isle of the Dead series (who probably it in Rome), and Salvador Dali, among others. Van Gogh noticed the “interesting, dark note” in the Provencal landscape, near the end of a peripatetic life.
Contributed by Sharon Butler / While watching At Eternity’s Gate, Julian Schnabel’s new film about Vincent Van Gogh, I wondered if Schnabel had made the […]
In the New Haven Advocate, reporter Brianna Snyder chats with David Sedaris about the Van Gogh painting featured on the cover of his new collection […]
In the Sunday Times, Matthew Campbell reports that the Auberge Ravoux may someday be a video cyber shrine to former resident Vincent Van Gogh. “Dominique-Charles […]
