Art In America

Guy Goodwin

The fundamental tension between movement and stasis gives each piece an unsettled quality, as in a frieze immortalizing a transient moment. 

Drastic Times

Based on seven years of research, the Pacific Standard Time exhibition "Radical Women: Latin American Art, 1960-1985" forges a new significance for previously excluded artists.

Gladys Nilsson

Figures big and small inhabit the stunning watercolors Gladys Nilsson made in the late 1980s. It’s unusual to see the medium deployed with the forceful colors and monumental scale of these works, ten of which, all about forty by sixty inches, were on...

Benny Andrews

A man stands with his legs spread wide. We see him from above so that one of his legs, foreshortened and appearing to jut out from his crotch, looks as phallic as can be.

Emily Mullin

Emily Mullin’s wall-mounted reliefs feature between one and five handmade clay vessels displayed on painted metal shelves. Like a photographer’s cyclorama, each shelf curves where it meets the wall, extending upward to become a backdrop for the...

Mónica Palma

The eleven works on paper in Mónica Palma’s first solo show are pared-down abstractions that reflect, almost paradoxically, the dizzying entanglements of contemporary life. Palma’s slow, repetitive process results in much-handled drawings whose cloudy...

Suellen Rocca

The recent proliferation of smart, funny, cartoony paintings by younger artists in New York has coincided with the rediscovery, through a spate of museum and gallery shows, of work by artists who made smart, funny, cartoony work half a century ago,...

Pam Glick

Bouncy and muscular, Pam Glick’s recent large-scale paintings are inspired by the grandeur of Niagara Falls. In many of the works, spray-painted stripes evoke the schematic form of the cataracts, and loosely brushed Rust-Oleum overpainted with thin...

Rubens Ghenov

Rubens Ghenov’s paintings employ an abstract visual language of controlled spills, color-gradient shapes, and slender lines to conjure the displays of books, objets d’art, and pictures typically found on bookcases in the offices and homes of...

Carrie Moyer

Mythical sirens lure listeners to their enslavement and eventual death with songs of irresistible beauty. As the title of a recent solo show by Carrie Moyer, an artist with queer activist roots, “Sirens” suggested the threat lurking behind beauty,...

Mernet Larsen

Mernet Larsen makes precise, quirky paintings depicting the seemingly unpromising banalities of everyday, middle-class life. Faculty meetings, drinks at a café, a family snack, reading in bed: all are enacted by boxy figures seen in reverse...

Giorgio Morandi

Like the softly repeated murmur of a prayer, there’s something both comforting and conservative in Giorgio Morandi’s career-long affinity for painting small still lifes of bottles, vases and other objects arranged in his studio.

Jim Shaw

The baby boomers’ obsession with the mid-20th-century Americana of their childhoods—that anxious nuclear-age mix of religion and sexuality immortalized in comic books and B-movies—can seem like a yearning for the overly familiar, a desire for the...

Stanley Whitney

Stanley Whitney’s two recent shows of lyrical abstract paintings and drawings stepped with springy confidence into an art world where, for the last decade or so, abstraction has been increasingly visible. Whitney has been around New York’s art world...

Leon Golub

Leon Golub’s death in 2004, at the age of 82, coincided with the full flowering of the privatized guerrilla warfare that he caustically portrayed in his most celebrated paintings of the 1970s and ’80s. Mounted to coincide with a retrospective at...

Joan Snyder

Joan Snyder’s canvases—alternately gentle and tragic, pastoral and grimy—elicit thoughts of Susan Sontag’s half-century-old call for an “erotics of art.” The works’ emotional openness compels us to experience them directly through our feelings, rather...

Trenton Doyle Hancock

Trenton Doyle Hancock’s dizzying midcareer retrospective had the density of jokes, random asides and self-referentiality of a maximalist novel. Hancock treated the gallery the way his literary contemporaries (he’s a year older than Zadie Smith) treat...

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