Category Archives: Reviews
Printmaking, Abstraction: “Zero to One on Paper” at Ratio 3
There’s a piece of public art installed in the Mission Bay neighborhood of San Francisco that is quintessential Richard Serra. Two 80-ton steel slabs emerge from ground at a slight angle, tilting vertically as they extend 50 feet into the
Printmaking, Abstraction: “Zero to One on Paper” at Ratio 3
There’s a piece of public art installed in the Mission Bay neighborhood of San Francisco that is quintessential Richard Serra. Two 80-ton steel slabs emerge from ground at a slight angle, tilting vertically as they extend 50 feet into the
Seeing Things Invisible: Forrest Bess at the Berkeley Art Museum
Forrest Bess never made a living as an artist. He spent most of his working life as a bait fisherman off the Texas coast making meager wages and living in ramshackle conditions. Yet he navigated the New York art world
Seeing Things Invisible: Forrest Bess at the Berkeley Art Museum
Forrest Bess never made a living as an artist. He spent most of his working life as a bait fisherman off the Texas coast making meager wages and living in ramshackle conditions. Yet he navigated the New York art world
Outside/Inside: Alicia Mccarthy and Jenny Sharaf at Johansson Projects
The current show at Johansson Projects, Alicia Mccarthy + Jenny Sharaf, is a bit of a study in contrasts. For one, the artists find themselves at different points along their respective career paths. Alicia Mccarthy is a mainstay in the
Outside/Inside: Alicia Mccarthy and Jenny Sharaf at Johansson Projects
The current show at Johansson Projects, Alicia Mccarthy + Jenny Sharaf, is a bit of a study in contrasts. For one, the artists find themselves at different points along their respective career paths. Alicia Mccarthy is a mainstay in the
Mission Schooled: Jason Jägel at Gallery 16
If you’re a fan of underground hip hop then you’ve probably seen Jason Jägel’s (NAP #25) work. He’s produced album cover art for the likes of Dudley Perkins, Madlib, and MF Doom, including the cover of the 2011 reissue of Operation:
Mission Schooled: Jason Jägel at Gallery 16
If you’re a fan of underground hip hop then you’ve probably seen Jason Jägel’s (NAP #25) work. He’s produced album cover art for the likes of Dudley Perkins, Madlib, and MF Doom, including the cover of the 2011 reissue of Operation:
Kathryn Cornelius: Let’s Not Ever Be Strangers Again
Maybe one day, Kathryn Cornelius will meet her future spouse. She might fall deeply in love and tie the knot. And it will be for the first time, even if she’s played the bride on seven occasions before. Last summer
Kathryn Cornelius: Let’s Not Ever Be Strangers Again
Maybe one day, Kathryn Cornelius will meet her future spouse. She might fall deeply in love and tie the knot. And it will be for the first time, even if she’s played the bride on seven occasions before. Last summer
Dead Zone: Alex Da Corte at Nudashank
Technically speaking, Dead Zone (at Nudashank through March 17) is a group show curated by Philly-based artist Alex Da Corte. But this description isn’t really accurate. Rather than playing the role of curator, Da Corte is bringing in works by
Dead Zone: Alex Da Corte at Nudashank
Technically speaking, Dead Zone (at Nudashank through March 17) is a group show curated by Philly-based artist Alex Da Corte. But this description isn’t really accurate. Rather than playing the role of curator, Da Corte is bringing in works by
Andrei Molodkin: Crude
It can be a bothersome pairing, art and politics. Politics strives for deliverables and metrics; art may provide neither. If we are to consider the contemporary art world and not, say, the art of the Occupy movement, then the relationship
Andrei Molodkin: Crude
It can be a bothersome pairing, art and politics. Politics strives for deliverables and metrics; art may provide neither. If we are to consider the contemporary art world and not, say, the art of the Occupy movement, then the relationship
Chromatic Archive: Lisa Ruyter at Connersmith
There’s a seemingly direct line between Lisa Ruyter’s work and pop art. Like pop art, Ruyter’s paintings are guided by photography and mass media, her appropriation strategies a central crux of her compositions. But her artistic concerns are decidedly unwarholian. Rather than
Chromatic Archive: Lisa Ruyter at Connersmith
There’s a seemingly direct line between Lisa Ruyter’s work and pop art. Like pop art, Ruyter’s paintings are guided by photography and mass media, her appropriation strategies a central crux of her compositions. But her artistic concerns are decidedly unwarholian. Rather than
From Print to Painting to Print: CTRL+P at Arlington Arts Center
Brian Chippendale came to prominence as a leading figure in the underground art and music scene that blossomed in Providence, RI during the 1990s. At the center of this creative explosion was Fort Thunder, an expansive live-work space co-founded by Chippendale
From Print to Painting to Print: CTRL+P at Arlington Arts Center
Brian Chippendale came to prominence as a leading figure in the underground art and music scene that blossomed in Providence, RI during the 1990s. At the center of this creative explosion was Fort Thunder, an expansive live-work space co-founded by Chippendale
Guns, Art, and a Project by Ryan Carr Johnson and Samuel Dylan Scharf
There’s a long history of guns in contemporary art, from Chris Burden’s Shoot to Sophie Calle’s ballistic treatment of her lover’s letter in Take Care of Yourself to a myriad points in between. And the connection between guns and painting
Guns, Art, and a Project by Ryan Carr Johnson and Samuel Dylan Scharf
There’s a long history of guns in contemporary art, from Chris Burden’s Shoot to Sophie Calle’s ballistic treatment of her lover’s letter in Take Care of Yourself to a myriad points in between. And the connection between guns and painting
David Ostrowski and Jack Henry at Nudashank
This article was originally published in the New American Paintings blog in June of this year. This exhibition closed on July 8.
David Ostrowski and Jack Henry at Nudashank
This article was originally published in the New American Paintings blog in June of this year. This exhibition closed on July 8.
Rehashing History: Frohawk Two Feathers at Heiner Contemporary
The work of Frohawk Two Feathers, pseudonym of Chicago-born and L.A.-based artist Umar Rashid, is steeped in folklore. For the better part of ten years the artist has visually explored narratives of colonialism through paintings and exhibitions that cumulatively function like chapters in an epic fantasy. I checked out his current show, “Every Winter Was A War,” She Said, at Heiner Contemporary.
Rehashing History: Frohawk Two Feathers at Heiner Contemporary
The work of Frohawk Two Feathers, pseudonym of Chicago-born and L.A.-based artist Umar Rashid, is steeped in folklore. For the better part of ten years the artist has visually explored narratives of colonialism through paintings and exhibitions that cumulatively function like chapters in an epic fantasy. I checked out his current show, “Every Winter Was A War,” She Said, at Heiner Contemporary.
The Baltimore Contemporary Print Fair at BMA
Last weekend the Baltimore Museum of Art hosted its bi-annual print fair, bringing together a group of exciting printmakers for a small two-day event that featured an artist talk by Trenton Doyle Hancock. My thoughts on the fair, and lots of photos of the most exciting work, after the jump.
The Baltimore Contemporary Print Fair at BMA
Last weekend the Baltimore Museum of Art hosted its bi-annual print fair, bringing together a group of exciting printmakers for a small two-day event that featured an artist talk by Trenton Doyle Hancock. My thoughts on the fair, and lots of photos of the most exciting work, after the jump.
Painted Diplomacy: Tomokazu Matsuyama at AU
“Thousand Regards,” Japanese-American artist Tomokazu Matsuyama’s solo exhibition at American University (through May 20), is timed to coincide with the Cherry Blossom Festival but it’s miles away from the Mall.
Painted Diplomacy: Tomokazu Matsuyama at AU
“Thousand Regards,” Japanese-American artist Tomokazu Matsuyama’s solo exhibition at American University (through May 20), is timed to coincide with the Cherry Blossom Festival but it’s miles away from the Mall.
Of This World: Tom Green at Curator’s Office
This article was originally published in New American Paintings/blog | link “Time is of the essence now.” Most of us will never fully grasp the weight of Tom Green’s words when he spoke to the Washington Post last December. He’d been diagnosed with ALS
Of This World: Tom Green at Curator’s Office
This article was originally published in New American Paintings/blog | link “Time is of the essence now.” Most of us will never fully grasp the weight of Tom Green’s words when he spoke to the Washington Post last December. He’d been diagnosed with ALS
Masquerading Fiction: Dawn Black at Curator’s Office
In her second show at Curator’s Office, Dawn Black pulls characters from her ongoing Conceal Project, and offers a nuanced understanding of the power roles and cues that result from masquerade and from our propensity for playing dress up.
Masquerading Fiction: Dawn Black at Curator’s Office
In her second show at Curator’s Office, Dawn Black pulls characters from her ongoing Conceal Project, and offers a nuanced understanding of the power roles and cues that result from masquerade and from our propensity for playing dress up.
Another Place and Time: Ian Whitmore at G Fine Art
This article was originally published in the New American Paintings blog | link It wasn’t long ago that Ian Whitmore was selling out multiple shows in Washington, D.C. before his paintings were even hung for opening night. It may have
Another Place and Time: Ian Whitmore at G Fine Art
This article was originally published in the New American Paintings blog | link It wasn’t long ago that Ian Whitmore was selling out multiple shows in Washington, D.C. before his paintings were even hung for opening night. It may have
Le Sigh: Gina Beavers at Nudashank
There’s no escaping the physicality of Gina Beavers’ paintings. Culled from the unremarkable — quotidian moments and bits of cultural flotsam — her work is grounded by the immediacy of her source material. Despite the occasional abstraction, these representations aren’t
Le Sigh: Gina Beavers at Nudashank
There’s no escaping the physicality of Gina Beavers’ paintings. Culled from the unremarkable — quotidian moments and bits of cultural flotsam — her work is grounded by the immediacy of her source material. Despite the occasional abstraction, these representations aren’t
Playing Rothko: the Seagram Murals on Arena Stage
This article was originally published in the New American Paintings blog | link If abstract painting is an inward journey seeking truth in the human condition, then perhaps Mark Rothko’s Seagram Murals are heralds for what we’ll find. Commissioned in 1958 for
Playing Rothko: the Seagram Murals on Arena Stage
This article was originally published in the New American Paintings blog | link If abstract painting is an inward journey seeking truth in the human condition, then perhaps Mark Rothko’s Seagram Murals are heralds for what we’ll find. Commissioned in 1958 for
A Colorful Language: Paintings by Mel Bochner at the National Gallery of Art
The Tower Gallery at The National Gallery of Art in Washington, D.C. is currently exhibiting a collection of Bochner’s recent Thesaurus Paintings and preparatory drawings alongside his early and precursory text-based Portraits (1966-1968). With regard to Bochner’s recent work, NGA curator James Meyer observed of Bochner’s recent paintings, “a kind of American Realism has entered Conceptualism’s back door.”
A Colorful Language: Paintings by Mel Bochner at the National Gallery of Art
The Tower Gallery at The National Gallery of Art in Washington, D.C. is currently exhibiting a collection of Bochner’s recent Thesaurus Paintings and preparatory drawings alongside his early and precursory text-based Portraits (1966-1968). With regard to Bochner’s recent work, NGA curator James Meyer observed of Bochner’s recent paintings, “a kind of American Realism has entered Conceptualism’s back door.”
Highlights from (e)merge: the Artists Platform
Unlike the gallery platform, two-dimensional works were a bit less common in the artist platform at (e)merge. It’s not surprising — in their call to artists the organizers expressed an interest in site-specific work that engaged with the idiosyncrasies of a hotel setting.
Highlights from (e)merge: the Artists Platform
Unlike the gallery platform, two-dimensional works were a bit less common in the artist platform at (e)merge. It’s not surprising — in their call to artists the organizers expressed an interest in site-specific work that engaged with the idiosyncrasies of a hotel setting.
Highlights from (e)merge: the Gallery Platform
(e)merge kicked off with a preview and poolside party on Thursday evening. Featuring two platforms, one for galleries and the other for unrepresented artists, the fair occupies the first three floors of the Capitol Skyline Hotel as well as the lower
Highlights from (e)merge: the Gallery Platform
(e)merge kicked off with a preview and poolside party on Thursday evening. Featuring two platforms, one for galleries and the other for unrepresented artists, the fair occupies the first three floors of the Capitol Skyline Hotel as well as the lower
Strokes and Stencils: Maggie Michael at G Fine Art
Gestural abstraction perseveres, and in Washington, D.C. few artists have been as attuned to its provisional potential as Maggie Michael (NAP #94). With There is No Rising or Setting Sun, Michael’s fourth solo show at G Fine Art, the artist has largely left the drips and splatters behind in
Strokes and Stencils: Maggie Michael at G Fine Art
Gestural abstraction perseveres, and in Washington, D.C. few artists have been as attuned to its provisional potential as Maggie Michael (NAP #94). With There is No Rising or Setting Sun, Michael’s fourth solo show at G Fine Art, the artist has largely left the drips and splatters behind in
Size Matters: Chris Martin paints big at the Corcoran
It’s easy to see Chris Martin’s interest in outsider art. In fact, it’s often written directly onto his work. A close inspection of the collaged paintings in his monumental installation in the Corcoran Gallery’s atrium yields, among other things, a newspaper clipping noting the death
Size Matters: Chris Martin paints big at the Corcoran
It’s easy to see Chris Martin’s interest in outsider art. In fact, it’s often written directly onto his work. A close inspection of the collaged paintings in his monumental installation in the Corcoran Gallery’s atrium yields, among other things, a newspaper clipping noting the death
Material Crescendo: Frank Stella at the Phillips Collection
Frank Stella doesn’t play second fiddle, but for Wassily Kandinsky he’ll play second harpsichord. Well, sort of. Currently on display at The Phillips Collection in Washington, D.C. is Stella Sounds: The Scarlatti K Series, a subset of the painterly sculptures the artist originally exhibited at Paul Kasmin
Material Crescendo: Frank Stella at the Phillips Collection
Frank Stella doesn’t play second fiddle, but for Wassily Kandinsky he’ll play second harpsichord. Well, sort of. Currently on display at The Phillips Collection in Washington, D.C. is Stella Sounds: The Scarlatti K Series, a subset of the painterly sculptures the artist originally exhibited at Paul Kasmin
The Shape of Things to Come
NUDASHANK’s progressive bent can make most local commercial galleries seem downright uncouth. Arguably the crown jewel of Baltimore’s thriving DIY artist-run spaces, NUDASHANK routinely showcases emerging artists that are on a firm upward trajectory, like Nick Van Woert, Matthew Craven, Alex Lukas, and Benjamin Edmiston. Currently
The Shape of Things to Come
NUDASHANK’s progressive bent can make most local commercial galleries seem downright uncouth. Arguably the crown jewel of Baltimore’s thriving DIY artist-run spaces, NUDASHANK routinely showcases emerging artists that are on a firm upward trajectory, like Nick Van Woert, Matthew Craven, Alex Lukas, and Benjamin Edmiston. Currently
Parkway 