 |
| Joanne Greenbaum at Rachel Uffner. Gallery website |
 |
| For great information, her interview with Phong Bui: Brooklyn Rail Interview |
 |
| In a previous post about Mira Schor's exhibition I'd mentionedt aporia, which happens in Greenbaum's work as well. She's not looking to conclude. It's hard to leave a canvas, but she can really do it. |
 |
 |
| Surface |
 |
 |
 |
 |
 |
 |
 |
| Joanne Greenbaum |
 |
| Jocelyn Hobbie at Fredricks Freiser. Gallery website |
 |
| I've followed this work for years and it is great to see again. So cheesy and relentless in its quest for a perfect surface. |
 |
| The way she handles sheer black material is inspiring. |
 |
 |
| The full image for the detail below: a cat painting! Posters by Ron Nagle...the 1980s so powerfully revived. |
 |
| Abrupt change / Marcia Hafif. Marcia Hafif at Fergus McCaffrey, in a knockout show of Italian paintings from her 8-year sabbatical there. Gallery website |
 |
| This was a good sized painting, about 48 x 48 |
 |
 |
| Thin color on light, almost muslin surface with maximum reverberation - not so much in the heat of the color but the fragile balance of elements. |
 |
| Standing straight in front of this painting had the strangest physical effect, as if a portrait. |
  |
| Marcia Hafif, Italian paintings |
 |
A stunning show by Lee Mullican at James Cohan (Chelsea). Gallery Website |
 |
| He places color on the tip of a pallete knife and notches, notches, notches. |
 |
| My favorite. But they were all good, the abstracted ones. Painstakingly made. Gorgeous paintings. |
 |
| Detail |
 |
| The works are inspired by the artist's pre-Columbian and Native American artifacts, such as kachina dolls, Zuni wood carvings, Sious pictographs, Navajo rugs and Rio Grande blankets, according to the press release. |
 |
| The works were made between the late 1950s and the 1960s. |
 |
| The paintings astonish. |
 |
| They're big, and the accretion of marks gains real power. |
 |
 |
 |
| Lee Mullican: 1919-1998. |
 |
| Juan Usle at Cheim Reid. Gallery website |
 |
| Small Usles, showing the thinned material (pigment, dispersion) and methodical application |
 |
| Translucent color, thinly applied in rhythmic patterns tied to his pulse, according to the press release. |
 |
| An uncharacteristic work. |
 |
| Stephen Westfall's Crispy Fugue State at Lennon, Weinberg. Gallery Link |
 |
| Loved these. The color was cold, dead--and then it wasn't. |
 |
| So much slippage in reliable shapes. |
 |
 |
 |
| Solidly painted - one wouldn't expect such magic to happen. |
 |
| But it does. |
 |
| Asya Geisberg: Elysian Redux! From press release: "a vast no man's land of 80s' design minutia." Leah Guadagnoli, whose work I've seen in a solo show on the LES at 247365. I believe the horse is a digital print by Ad Minolti. |
 |
| Shane Walsh and Ben Sanders' wonderful vases. Curated by Holly Jarrett. Gallery website |
 |
| Digital print by Ben Saunders and Josh Schaebel in the back room |
 |
| Mike Kelley, detail from the shaped paintings on view at Skarstedt. Gallery website |
 |
 |
 |
| Oh Mike Kelley. |
 |
| You are missed. |
 |
 |
| Detail of below. |
 |
| Mike Kelley. |
 |
| Lovely paintings at Makebish on 10th Avenue by Randy Bloom. Thanks Anne Russinof of Gallery Travels for the tip. Gallery website |
 |
| Big, crusty, knowledgeable paintings |