criticismExhibitions
Tuesday, April 21st, 2020
The American artist Kara Walker poses questions about slavery’s history and legacy with a major UK commission. ...
Wednesday, April 8th, 2020
The work of earlier artists can be found in scenes from this expat Russian painter’s adolescence. ...
Sunday, March 3rd, 2019
A derangement of the senses is arrived at via multifarious stimuli ...

Friday, April 6th, 2018

Excess Devoured: Steve DiBenedetto at Derek Eller

Paintings of newfound restraint, on view on the Lower East Side

Perry Hoberman, Suspensions, 2018. Installation view with visitor preparing to wear VR goggles. Courtesy of the artist and Postmasters, New York
Tuesday, March 27th, 2018

Non-Trip to a Non-Site: Perry Hoberman’s Suspensions

Combining virtual reality and assemblage, on view at Postmasters through March 31

Marguerite Louppe, Rustic Chair, n.d. Oil on canvas, 82 x 66.5 cm
Sunday, March 25th, 2018

Bourgeois Charm: Marguerite Louppe and Maurice Brianchon

Husband and Wife painters, on view at Seton Hall University

Thursday, March 15th, 2018

The Willful Glitch: Chris Dorland and Technological Singularity

His show was at Lyles & King last month

James Castle, Untitled (Red Jacket), n.d. Found paper, thread, crayon with applied paper buttons, 10.5 x 6.5 inches (Double-sided). The William Louis-Dreyfus Foundation Inc. © James Castle Collection and Archive LP
Tuesday, February 27th, 2018

Beyond Soot and Spit: Rethinking James Castle

An important show of his work at the New York Studio School on view through March 4

Hans Hartung, T1982-H29, 1982. Acrylic on canvas, 70.9 x 55.9 inches. Courtesy of Nahmad Contemporary, Perrotin and Hartung-Bergman Foundation
Thursday, February 15th, 2018

In a Galaxy of their Own Design: Line and Atmosphere in Hans Hartung

A pair of exhibitions makes a case for the German-born post-war French master

Suzy Spence, Untitled (Portrait), 2017. Flashe on paper, 16 x 16 inches. Courtesy of the artist and Sears Peyton Gallery, New York
Thursday, February 15th, 2018

Hunters and Hustlers: Feminism and Theatricality in Suzy Spence and Heather Morgan

by

Contrasting approaches and messages in two recent shows

Käthe Kollwitz, Seed-Corn Must Not be Ground, 1941. Lithograph , 14.5 x 15.5 inches. Private collection, Courtesy of Galerie St. Etienne
Saturday, February 10th, 2018

The Volunteers: Graphic Arts by Käthe Kollwitz and Sue Coe

An exhibition of powerful political work at Galerie St. Etienne, through March 10

Claire Lieberman, Sunspot Silencer, 2017. Sunspot Silencer, Glass, 5.25 x 10.5 x 2.75 inches. Courtesy of the artist and Massey Lyuben Gallery
Sunday, February 4th, 2018

Serious Play: Claire Lieberman’s Unidentified Dangerous Beautiful Objects

A show last year at Massey Lyuben Gallery

Sunday, February 4th, 2018

Biting a Thumb at Monochrome: Jim Lee at Nicelle Beauchene

A show that dwells on the perversity of painting, closing February 4