The bronze heads that Sarah Peters recently showed at Eleven Rivington pulled passing viewers inexorably into their orbit.
A compelling struggle between uncomfortably revealing candor and bombastic narcissism once drove Sean Landers’s work. Although these qualities still resonate, the force behind the 23 recent paintings in his show “North American Mammals” is...
Navigating Judy Pfaff’s exhibitions is like moving through jungle chaos. Multisized assemblages converge into installations that sometimes consume entire rooms.
The imposing steel screens greeting visitors to Johannes VanDerBeek's exhibition initiated impressions of a dystopic playground or institutional holding pen.
Like members of the aristocracy, Gary Stephan's 11 recent abstract acrylic paintings at Susan Inglett presented an intimidating formal starchiness, with their high contrast, muted palette and precise facture.
"Schadenfreude," the German word meaning "pleasure taken from another's misfortune," came inescapably to mind upon encountering Blacksmile (2013), the first of 14 paintings in Charline von Heyl's recent exhibition.
Alexi Worth constructs paintings that insinuate themselves into the mind's lonely places.
Sexual humiliation, anger and homoeroticism are unexpected themes in shows of early American modernists. But Walt Kuhn (1877-1949) was an artist who subverted expectations.
A “peculiar blend of slapstick idiocy and gallantry” is a phrase that captures the spirit of Carroll Dunham’s new paintings. Tellingly, it was written by Dunham himself in a review of Picasso’s late “Mosqueteros” oils (Artforum, Sept....
"'Thanks' will be a large group show comprised entirely of stolen works of art or objects relating to the artists' practice."
"And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born?" wrote W.B. Yeats in his poem "The Second Coming" (1919).