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| Detail of Medrie McPhee's large painting at Tibor de Nagy: lustrous, satisfying, thick and witty surfaces. |
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| Seamed with, well, seams and pockets. The swish of a brush, the cut of a hem. |
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| The painting in its glory. I walk by this en route to the studio , every day and night. But the surfaces of the work reward close view and day light. Gallery Link |
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| Tom Bevan at The Room Artspace NYC. Like McPhee he scavenges found materials and transforms them into table top sculpture and collages. More about Tom here: Tom Bevan blog |
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| A simply gorgeous Trenton Doyle Hancock in Dream Machines at James Cohan, 26th St. Gallery Link |
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| Riding in the car with Mernet Larsen. Her paint is getting brushier. |
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| David Altmejd |
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| Animated armies running into walls |
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| and jumping off mountains by Jon Rafman. |
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| Larsen head studies |
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| Switch over to Thomas Erben's Painting in Due Time featuring Lydia Dona. |
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| Scott Anderson. |
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| Lydia Dona. |
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| Hanneline Rogeburg (weird figurative abstraction, with gorgeous, vein-like color) |
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| Harriet Korman |
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| I wanted to say goodbye to Carolanna Parlato's curated exhibition, Tremolo at Rick Wester Fine Art , in which I took part. Gallery Link |
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| Above, Ray Rapp's ocean bottle...here, Norma Markley's mise-en-scene. |
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| Happy to see these old friends, 2015 on the left, 2013 on the right. |
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| Stepping back: Aaron Rothman's Arizona night sky, Kristen McIver's composites of Warhol's Marilyn, my Chinese landscape composition and pourscape. |
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| Tom McGlynn and Maureen McQuillan's color vibrations. |
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| At Cheim Reid's The Horizontal summer show, Louise Bourgeois, a lovely little drawing. Gallery Link |
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| Matthew Wong. On social media this didn't look like much but in the reals, toggles between an unfinished series of swipes and vibrating landscape of light and darkness. |
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| Sean Scully, big and brushy |
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| Ron Gorchov |
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| Star of Show: Agnes Martin's formative grids...the firm pencil incised into a surprisingly textured surface. |
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| Brushless, at Morgan Lehman. I wanted to see Carolanna's pour paintings in this wonderfully themed summer show. Andrew Schwartz's painting above and Medrie McPhee's fabric paintings at the start of this post create a funny bookend. Gallery Link |
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| A large Hildur Ásgeirsdóttir Jónsson tapestry that reconfigures the mark in a weave. |
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| Carolanna Parlato. She moves between a signature pour and swipes or marks of color. Returning to the pour after a long bout of color exploration, she shows what she's absorbed in terms of transparency, overlay and edge. |
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| Beautiful neutrals. |
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| Sculptural surfaces, yet retaining the quality and feeling of paint, nothing else. |
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| In the back room, a surprising set of conditions by Nathan Green. There is paper pulp in the painting. |
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| Rachel Ostrow |
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| Quick takes at Gladstone's summer show, Lyric on a Battlefield. Charmed by the above account of cultural displacement. Gallery link |
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| "Bringing together artists working in various media, from multiple regions, and of different generations, this exhibition focuses on the lyric—the poetic first-person account of lived experience—to explore the complexities of being in the world. " Here, gorgeous color overlays on linen. |
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| I wanted to see Ellen Berkenblit's painting. Perhaps this is the more appropriate bookend for Medrie McPhee's paintings. |
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