Features
Monday, October 1st, 2018
 
Her exhibition at Theodore: Art runs through October 7 ...
Friday, September 28th, 2018
 
Natasha Wright, The Believers, 2018. Oil on canvas, 50 x 44 inches. Courtesy of the artist
Her recent show, Les Biches, was seen on the Lower East Side ...
Tuesday, September 4th, 2018
 
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His public sculpture, Spot, is at NYU’s Hassenfield Children’s Hospital ...
 

Tuesday, January 31st, 2017

Fran O'Neill, Dance with me, 2016. Oil on canvas, 30 x 30 inches. Courtesy of the artist and David & Schweitzer

Fran O’Neill at David & Schweitzer


closing Sunday, 56 Bogart Street in Bushwick

Sunday, January 15th, 2017

Installation view, fourth floor, Pipilotti Rist: Pixel Forest, New Museum, 2016.

“Administrating Eternity”: Contemplating Pipilotti Rist in the Wake of Trump


New Museum show closes in week of Inauguration and Women’s March

Thursday, January 5th, 2017

Dennis Kardon, Painting Contemplates Sculpture, 2007. Oil on canvas, 20 x 16 inches. Courtesy of the Artist

Scopophilia: Dennis Kardon and Alexi Worth in conversation


A dialogue arising from their two-person show at the University of Akron last summer

Tuesday, November 15th, 2016

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X-Ray Vision: Mary Jones discusses her work with Brenda Zlamany


Mary Jones discusses her work with fellow artist Brenda Zlamany at her one-person show “Proxima b” at John Molloy Gallery (on view through November 26) and in her Chelsea studio. Really, the conversation began when Jones sat for a portrait in Zlamany’s Watercolor Portrait a Day project, which lead to an article here at artcritical…

Tuesday, November 15th, 2016

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The Obligation to Explain


One of the striking aspects of the controversy around Kelley Walker’s exhibition at the Saint Louis Contemporary Art Museum (CAM) is how many important issues it raises, including, obviously, the perilous state of race relations in the country; the dilemmas that arise when one person’s freedom of speech is perceived by someone else as hate…

Tuesday, November 15th, 2016

Jill Magid, Ex-Voto: Miracle of the Diamond, 2016. Oil on tin, 9.84 x 4.59 x 3.46cm. Painted by Daniel Vilchis.

“My work goes beyond metaphor”: A Conversation with Jill Magid


How is an artist’s legacy kept and remembered? Jill Magid’s recent work examines an estate problem.

Wednesday, November 9th, 2016

Kelley Walker, Schema: Aquafresh plus Crest with Scope, 2003. Digital file, dimensions variable. Courtesy the artist; Paula Cooper Gallery, New York; Thomas Dane Gallery, London; and Galerie Gisela Capitain, Cologne.

The Obligation to Explain


“if Kelley Walker had made a cogent argument for his art… there would have been far fewer expressions of anger and outrage.”

Wednesday, October 26th, 2016

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Commentary: Towards a more fluid definition of Blackness


“The art world needs to renew its ideas of racial inclusion”

Wednesday, October 26th, 2016

Installation shot of the exhibition, Representing Rainbows, curated by Lisa Corinne Davis at Gerald Peters Gallery, New York, September 2016, showing a work by Shinique Smith. Photo: Michael Scoggins

Towards a more fluid definition of Blackness


“The art world needs to renew its ideas of racial inclusion”

Friday, October 14th, 2016

fisk-for-cover

Lars Fisk at Marlborough


Although he’s previously worked with Marlborough Chelsea, notably in their “Broadway Morey Boogie” installation along Broadway between 59th and 166th streets in 2014 and ’15, “MR. SOFTEE” is Lars Fisk’s first solo show with the gallery. Fisk formerly worked with the trippy jam band Phish, doing stage design, and his work here is definitely psychedelic,…