Jason Andrew

Edith liked the lively and the slangy way of painting things. “Crude daily poetry,” she called it.

The new theatrical space of Amy Lincoln. September 15, 2021 2:04 pm. Amy Lincoln, installation view. Courtesy Sperone Westwater, New York.

For her new paintings, on display at The Journal Gallery in their rotating “Tennis Elbow” series, Pam Glick seems to embrace both the automatic and the procedural.

The inaugural exhibition of the newly renovated Museum. The exhibition provides a regional snapshot of the art of our time—a collective survey of contemporary Southern Appalachian culture.

Groundings examines the continuing legacy of American Abstract Artists by juxtaposing the works of historic and contemporary members of the organization. This online exhibition is the first of its kind for the group. Groundings is the initial installment in a series of three online shows, each developed by a different guest curator.

In a 1976 Cincinnati Enquirer review of Joan Snyder’s paintings, the reviewer, Owen Findsen, surmised that she had “picked up a little of this, a little of that … and made it all uglier.”

There is a long history of artists expanding the objectness – that is, the sculptural dimension – of painting. Picasso and Braque introduced this concept in their assemblage works; Vladimir Tatlin broadened it in his “counter-reliefs” alongside Elsa von Freytag-Loringhoventhe, the “Dada Baroness”.

It seems only fitting that University at Buffalo, an institution built on the reputation of one of the great female art dealers of the 20th century, Martha Jackson, would be the one to raise the bar that much higher when it comes to “women’s work.”

Before the painter Pat Passlof, who died in 2011, would allow me to visit her in her Forsyth Street studio, she insisted that I join her and her Tai chi class held in the park across the street.

Lucy Mink was the first artist I came to know solely through Facebook. She didn’t live in Brooklyn but in rural Contoocook, New Hampshire, and I became cyber-obsessed, waiting for each new post from her studio.

In an exhibition of ten new paintings at the Carnegie Museum in Pittsburgh, Ruth Root extends her definition of the medium and her own personal language.

Read this 3,700-word, hyper-critical letter discussing the work of Philip Guston, Anselm Kiefer, Nell Blaine, Bill King, Arthur Dove, Marsden Hartley, and several others: "Everyone seems to be proud of having no go, no oomph."

Spend anytime out in the rural West, particularly the plains of southwest Texas, and you’ll discover the daunting challenge of repelling dust and dirt. At some point, you just have to accept a little discomfort as a small cost of the region’s wondrous horizons, desert winds, and moonlit nights.

In 1959, British scientist and novelist C.P. Snow, struck by the inability of intellectuals and scientists to communicate and thereby to make sense of and tame nuclear weapons, delivered a lecture at Cambridge arguing that the divide between the sciences and the humanities was intensifying world’s problems.

De Kooning once said, “Every so often a painter has to destroy painting.” Cezanne did it. Picasso did it. Then there was Pollock. As de Kooning put it, he “busted our idea of a picture to hell.”

Jenny Snider is a storyteller. The content and form of her art come from a variety of sources: history, popular culture, politics, and art itself in the form of grid-based abstraction representing natural and mechanical forms.

The art of Katherine Bradford, on view at Canada through October 21, is deep image painting. Her often heroic imagery and surrealist leaps echo a floating world, one that narratively exists between the real and the dream. Each work has a self-conscious spiritualist language that represents a developing poetic stance – a story that starts, but never finishes its tale.

Given some historical context, the impact graffiti had on the paintings Murray made during the 1980s is plain to see.

Among the reigning patriarchs of the New York School, the young Rauschenberg found his greatest and earliest champion in the painter Jack Tworkov.

This expansive AbEx show is brash, irreverent, and unconstrained, just like the period it aims to express.

This expansive AbEx show is brash, irreverent, and unconstrained, just like the period it aims to express.

This expansive AbEx show is brash, irreverent, and unconstrained, just like the period it aims to express.

MIAMI BEACH — One of the most exciting aspects of the art market is the discovery of new talent. In the early 1950s Ivan Karp and Leo Castelli marched down to derelict Fulton Street to meet up with the young Robert Rauschenberg and Jasper Johns. Not much later, historic figures like Holly Solomon and Paula Cooper climbed flight after flight of stairs navigating the cold-water flats of downtown to make their discoveries.

MIAMI BEACH — One of the most exciting aspects of the art market is the discovery of new talent. In the early 1950s Ivan Karp and Leo Castelli marched down to derelict Fulton Street to meet up with the young Robert Rauschenberg and Jasper Johns. Not much later, historic figures like Holly Solomon and Paula Cooper climbed flight after flight of stairs navigating the cold-water flats of downtown to make their discoveries.

Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting.

The brilliant and inventive mind of Susan Weil is on full display at the Sundaram Tagore Gallery through June 15. At 83, Weil has lived at the epicenter of the New York art world since the early 1950s, and although her art has been relatively overshadowed by that of her contemporaries, Weil’s current show has the makings of her best.