In early May, Spencer Sweeneys exhibition Perfect opened at the Brant Foundation. The drawings and paintings that spanned across the two floors of the foundation represented fifteen years of work and achieved the depth and dimension of both a retrospective and a concert . When the energy finally settled from the opening, we talked in his studio, where I found myself surrounded by the same palpable excitement and energy captured at the Brant. Next to his drums and guitars, and flanked by a ring of booming paintings still in progress, we discussed the shared spaces of music and painting, how painting can be used to anticipate and store the energy of an announcement, and how self-portraits can hold the tension of contradictions to emanate and reflect the soul.
Banshee Sunrise, Linhare’s second solo exhibition with P.P.O.W., solidifies her painterly presence and influence, specifically the important connection she has been able to draw between the figure and Abstract Expressionism through a phenomenological turn within representational work since the late seventies and eighties.
What is exhaustible versus what is inexhaustible comes to mind in Nicky Nodjoumis We the Witnesses at Helena Anrather. Newsprint is exhaustible. The images that circulate within newspapers, the ones that swarm around events, elicit quick shocks of something limbic but rarely have permanence past the next days issue.
Tathata is a Buddhist sentiment that translates roughly to the suchness of things. In practice, its trying to understand the essence of something before words can circumscribe it. For forty years, Ouattara Watts has similarly resisted being assimilated or codified. His exhibition Paintings, currently on view at Karma, reveals a dedicated and thoughtful practice of painting that can only be achieved through the experiences of a world traveler.
Jarrett Key is interested in the slow, germinating speed of folklore and the gradual repetition needed for world-building.
Danica Lundys exhibit Three Hole Punch potentially offers an alternative response to a post-humanist painting practice through an intentional multivalent painting.
Raymond Saunderss current solo exhibition at Andrew Kreps presents a series of gripping assemblages, hung on the walls like excavated fragments. The individual configurations might be referred to as slabs, panels, boards, or slates. However, thinking of the works instead as decks of culture or rafts of visuality may lend us a better lens for interpreting the work.
You feel the parallels between the aesthetic endgame of painting and American decline itself when you walk into Mike Shultiss Animal Crackers at ASHES/ASHES.