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Whereas previous bodies of work consisted primarily of autobiographical and domestic scenes, here Levinthal ventures forth to engage with the outside world and the figures she encounters there.
Polina Barskayas newest paintings, 11 of which are on view at Monya Rowe Gallery through November 12, take lockdown-looking as their subject. As in her two previous solo exhibitions at the gallery, these are intimate, domestic scenes, derived from photographs that are acted upon and subtly distorted through the process of painting.
The first painting one sees upon entering Scott Kahns exhibition at Almine Rech is The Gate (202122), a view of a tree-lined residential driveway. Seen from an elevated perspective, presumably a houses second-story window, the driveway leads from a nondescript road directly down the center of the picture plane.
Depicting everyday scenes in and around Levensteins home on the North Fork of Long Island, these paintings are said to have originated with casual photographs that the artist took on his phone.
Greenwich Village has gone to the dolls. In an apartment space 11 stories above Cornelia Street and Sixth Avenue is Alyssa Davis Gallery, now host to Goodbye Dolly, a sculptural installation piece by the Brooklyn-based artist Abby Lloyd.
In fifteen mixed-media collages on view now at DC Moore, Carrie Moyer shifts the boisterous abstract compositions for which shes renowned to a smaller, more personal scale.
With Here comes the night, an exhibition of eight acrylic paintings now at Spencer Brownstone, Jule Korneffel declares an infatuation with twilight atmosphere.