Art In America

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...

Ann Agee

Though showing a disparate range of work has become common among young sculptors, Agee’s willingness to spiral out in so many directions, while making each piece compelling in itself, resulted in her exhibition’s main successes. 

Stanley Lewis

Clotted with paint, stapled or glued together in sections so that they are as patched and dog-eared as an old map, Stanley Lewis’s observational paintings and drawings depict the small-town middle-class world familiar to readers of John Updike’s...

John Walker

There aren’t many painters making abstractions as convincing as John Walker’s. 

Dona Nelson

Dona Nelson pushes her paintings hard. They're doused in thinned acrylics, splattered with gooey tar gel medium, festooned with wads and strips of cheesecloth (that are sometimes then ripped off) and, occasionally, stabbed with ice picks.

Sebastian Black

Sebastian Black's recent solo exhibition was both promising and disappointing. 

Rachel Farbiarz

Rachel Farbiarz's treatment of the subject matter in her first solo show—the trauma caused by war and other man-made and natural disasters—might have come off as preachy in the wrong hands.

Zachary Keeting

From a distance, the eight paintings in Zachary Keeting's recent show looked like collages; up close, they revealed themselves to be layered acrylics.

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