ArtSeen
Mary Hambleton
By Ron JanowichIn Conversation
Mary Hambleton with Ron Janowich
In anticipation of Mary Hambleton’s show Nothing By Mouth at Littlejohn Contemporary, Ron Janowich talked to the artist at her Brooklyn Studio in early February.
Boccioni’s Materia
A Futurist Masterpiece and the Avant-garde in Milan and Paris
Solomon R. Guggenheim Museum
By Jim Long
Futurism is what often comes to mind when people try to imagine modern painting: a demolition derby of figures and forms, planes and colors, text strips and musical notations, smokestacks, cut-up buildings, speeding trains, and automobiles.
Kim Jones
By Joan WaltemathThe impact of Kim Jones’s work is visceral, it’s the kind of stuff we resist putting words to; often the moment we do they seem to reveal their limits as inadequate to all that the work evokes.
Outlaw Printmakers and Andrew Kearney
By Jill ConnerWhile trendy art centers like Chelsea and Williamsburg begin to look more alike as both continue to transform into icons of corporate gentrification, fresh ideas and artistic ingenuity can be found within the small unbecoming galleries that populate the East Village and Lower East Side neighborhoods.
Brian Jungen
By Stephanie BuhmannWhen walking into Harlem’s Triple Candie on Super Bowl Sunday afternoon, hours before the mania and media fanfare descended upon the nation, it seemed appropriate to find myself confronted with an installation that addresses Western sport culture through space and materials.
Steven Thompson
By Katie StoneSteven Thompson’s second exhibition at Kenny Schachter conTEMPorary is made up of six new works.
Matt Leines and Keegan McHargue
By William PowhidaThe large drawings by Matt Leines and Keegan McHargue in the two glass doorways on West 20th Street that are The Wrong Gallery feel something like the geometry of poetry, if there were such a thing.
Marco Breuer
By Farrah KarapetianPhotography is no passive vehicle between events and viewers: Marco Breuer’s fourteen photographs and thirty-two studies at Von Lintel Gallery are events in themselves.
Jean Lowe
By Stephanie BuhmannBased in San Diego, installation artist Jean Lowe draws much of her inspiration from Southern California’s generic suburban landscape, where candy colored stucco strip malls and endless concrete parking lots crisscross through various European architectural modes, disguising themselves as Disneyesque Roman remakes.
The Neon Forest Is My Home
By William PowhidaThe title of this amusing if not slight group show at *sixtyseven refers to thematic use of nature in the works of twelve emerging artists.
Sharon Core
By Chris HowardIn her recent series, Thiebauds, Sharon Core stages and photographs tableaus of cakes, pies, soup, and sandwiches that duplicate Wayne Thiebaud’s still-life paintings from the early 1960s.
Cynthia Hartling
By James KalmPainting is dead. No painting is alive. No it’s dead, no it’s alive, no dead, no alive, dead, alive, yada yada yada.
Norwegian Black Metal
By Sonya ShrierA photograph of blood splattered in a sink greets you upon entering the Riviera gallery. A tube of white makeup rests on the side of the sink along with a dirty bottle of red liquid.
Mary Hambleton
By Ben La RoccoMary Hambleton’s large paintings on panel at Littlejohn strive after complexity but attain only earnest enthusiasm.
Adam Simon
By Ben La RoccoIn a manageable show of six paintings in Art Moving’s snug space, Adam Simon wrestles with ideas about consumer culture and its effects on human interaction and activity.
A Triple Alliance: de Chirico, Picabia, Warhol
By Robert C. MorganThis exhibit of the later works of modernist pioneers, Giorgio de Chirico, Francis Picabia, and Andy Warhol, prompts a reevaluation of the artists’ comparative achievements.
John Duff at Knoedler & Company
By Tomassio LonghiConsidering that reductive form and the exploration of Gestalt psychology are only part of John Duff’s repertoire, the nature of his sculptures does not stem from Minimalism alone.
