Austere, calming, provocative, aggressive, confronting, soothing, luring, denying – these are some of the adjectives that can be applied to Richter’s new paintings.
To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.
Thinking of herself as a “collector of souls,” Neel created an oeuvre that not only reveals different facets of humanity, but also sums up the diversity of American urban society.
Goldberg navigates directions between abstraction and referential drawing. Most of his imagery is rooted in the organic and yet conglomerates of patterned forms can establish structures that hint at geometric organization.
While Fyfe has worked with combining more traditional methods of painting with textile collages for years, it is through the overt focus on counterparts in this exhibition, contrasting the more serious with the playful and the reserved with the whimsical, that Fyfe reveals both the diversity of his artistic interests and the extent of expressive versatility he has reached in his work.
Whatever stories Shaw might tell and whatever horrific creatures he might portray, they all are camouflaged by an overstimulation of the viewer’s visual senses. The excessiveness of information is severe and can be compared to 1960s psychedelic art or Persian miniatures.
The waterfalls promise to be impressive and quite the sensation, but they will also reveal Eliasson’s main strength – the skill to turn a generous gesture into a subjective experience, which even in a city of millions can be as personal as it will be communal.
The Museum of Modern Art February 25 – May 14, 2007 Marian Goodman Gallery, New York February 23 – March 31, 2007 By STEPHANIE BUHMANN Jeff Wall is considered one of the most innovative and influential artists of his generation. Though his medium is photography it is perhaps inappropriate to think of him as a…