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New Originals at Gallery HO

Despite their differences in themes and materials, the three female Brooklyn-based artists—Fay Ku, Hiba Schahbaz, and Manju Shandler—in Gallery HO’s New Originals share a common premise: the use of challenging subject matter, public and private, for the creation of contemporary art.

Folk Couture: Fashion and Folk Art

Fashion is cannibalistic. Guest curator Alexis Carreño takes this statement as the point of departure for the exhibition at the American Folk Art Museum.

“What the world looks like when it is loved”: JOSEPHINE HALVORSON Facings

Josephine Halvorson is a painter of intimacy, which is as real as anything, but not what people mean when they talk about representing reality.

Mingei: Are You Here?

After a full week of helter-skelter sprints through eye-numbing mounds of maze-like fairs blistering not only my feet but also my admittedly limited ability to grasp the myriad aesthetic sensibilities of artists young, old, and dead, I had a Keatsian moment of Pacific pure serenity when silent, within a Chelsea gallery, I stared at Nicolas Trembley’s perfectly curated show, Mingei: Are You Here?

Florence and Daniel Guerlain Donation

Since its very origins, the practice of drawing has eluded definition, which is perhaps why it has become metaphorically aligned with the seemingly futile pursuit of chasing shadows.

Moira Dryer Project

The abstract paintings of Moira Dryer (1957 – 1992) are due for critical reevaluation. Hopefully the two-part exhibition at Eleven Rivington, Moira Dryer Project, was just a beginning.

KEITH SONNIER Elysian Plain + Early Works

Keith Sonnier’s sculptures infuse the élan and machined elegance of high minimalism with a subtle sensuality. For all their rigidity—the pieces are comprised mainly of large glass or acrylic panels linked with aluminum struts and lit with neon—they emanate a kind of softness. They are also playful and even a bit erotic, adding a significant dose of warmth and humanity to a visual language known for its detached tone and conceptual slant.

Representing Rainbows

There's no arguing with Rainbows. A rainbow is a fact of life. Pots of gold, Judy Garland, magic, and wonder are all encapsulated in the image of the rainbow. They recall childhood memories, folklore, and middle school science, while holding a firm place in legend due to their beauty and the impossibility of explaining the phenomenon.

JUST THE FACTS, 50 Years of Looking and Drawing and Painting

In the late 1950s, Philip Pearlstein abandoned the expressive painterly language favored by his elders and many of his contemporaries and set out to work directly from observation.


Look at any inspired painting,” Philip Guston said. “It’s like a gong sounding; it puts you in a state of reverberation.” One can almost hear Alfredo Gisholt’s latest series, Canto General, pulsating with this same aftershock of rhythmic duress.

River of Fundament (2014)

A staircase emerging from a river of feces, ancient Egyptian myths engaging in sexual intercourse in a bathroom, the double-amputee actress, model, and sports pioneer Aimee Mullins cutting herself with a knife.

JULIA ROMMEL The Little Match Stick

Julia Rommel has installed just two works in the first room of her current exhibition: a large, ravishing creamsicle orange painting, “Punkin Chunkin” (2014), and a small, mostly white canvas, with accents of grays around the edges and sides, “Sandpipers” (2013).


He deftly forges strange, vicarious intimacies between viewers and the unlikely subjects of his paintings—from giants and insecure grasshoppers to an entire cast of fretting fowl.


If poetry is the art of condensed expression, Lori Ellison’s drawings and paintings are the consummate example of verse made visual.


Utopian, Austin Thomas’s show of delicate constructions and drawings at the Hansel and Gretel Picture Garden in Chelsea is the first part of a three-month collaboration between the Hansel and Gretel Gallery and Thomas’s unique venue in the Lower East Side, Pocket Utopia. The collaboration will include exhibitions as well as events.

SHIRIN NESHAT Our House is on Fire

Despite the portrayal of such extreme emotion, the works are not in the least literal or heavy-handed. Rather, they seem to have been constructed this way, like much of Neshat’s work, to translate a cultural experience we in the West naturally misunderstand.


There is nothing new about the idea of symbolic space. Doug Wheeler’s second installation at the David Zwirner gallery brings to mind the French Enlightenment fantasy architectural monument spheres of Étienne-Louis Boullée.


What does it mean, now, in an age of public spectacle and private surveillance, to paint pictures of domestic life? Has that word—domestic—already prodded you to the next review? It is a term so loaded, so heavy with the dueling stones of feminist theory and conservative conformity.

Alex Katz / Dara Friedman

Juan and Choichun, Choichun and Juan.

Looking for the Map

Into the heart of things / Center of the universe / Yet I like to place things / Irregularly

Images of Passengers, Memories of Thirst

Andrew Stefan Weiner discusses the late filmmaker, Chris Marker.

MEL KENDRICK Water Drawings

Mel Kendrick was fresh out of Hartford, Connecticut, when he came to New York in the fall of 1971 to study sculpture at Hunter College. Already armed with an undergraduate degree, Kendrick came looking for the conversations that only New York could offer.


The Brooklyn Rail

MAR 2014

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