If the world is in fact ending at some point today, then now is as good a time as any to talk about guilty pleasures. Thus, in the spirit of pre-apocalyptic abandon, this post is about Kesha, abstract painting, and aesthetic rapture. (More→)
Zoe Leonard’s recent exhibition at Murray Guy, in which she turned one room of the gallery into a large-scale camera obscura, closed on October 27. If it had been open a week later, it would have shown a very different scene, and the show would have been a very different show. (More→)
Critic Simon Reynolds’s description of Joy Division’s music as having an “eerie spatiality” also befits the two paintings in “An Ideal for Living,” Michael Bevilacqua’s third solo show at Gering & López Gallery. (More→)
In the spirit of last week’s All-Star game and in recognition of the final winding down of the current gallery season, a look at the five trends that most caught my attention over the past six months.
Recommendations: process-oriented shows by Thomas Demand and Lisa Oppenheim, a promising showing by Vlatka Horvat, and Kristin Baker’s fractured abstractions. Plus, Cheyney Thompson. (More→)
“Can someone look at a single color on a 16-by-20-inch canvas and have an emotional response?” (More→)
This weekend’s recommendations: Damian Stamer’s confrontations with landscape painting, Minimalism’s current legacy in Brooklyn, color photographs from the Depression, and Rembrandt at the Met. (More→)
The artists in “Four Paintings” embrace the freedom brought about by the culmination of Modernism to experiment with the space of picture plane. (More→)
Henning Bohl could have left his exhibition at just the plush purple carpet, turning Casey Kaplan Gallery into a playful recreation of Yves Klein’s famous 1958 exhibition, “The Void.” (More→)
Polly Apfelbaum currently has two shows up in Chelsea: “Flatland: Color Revolt” at Hansel and Gretel Picture Garden and “Flatterland Funkytown” at D’Amelio Gallery. (More→)
The painted wrd 
