|Lynette Yiadom-Boakye at the New Museum, now down.
New Museum Link
|Brushy portraits with an all-at-once feel.
|Figures on par with their surrounding when there are surroundings--a world where figure and object are interchangeable, eschewing hierarchy.
|Odele E. Zhang's pop-up at Parasol Projects. She views painting as live action, an act of 'broadcasting' completed in the moment.
|My favorite of her works. I met Odele at Shanghai's Saltworks in 2014, where she was live-painting asking for input to complete the work. She takes the position that a painter is a medium, a transmitter.
|Parasol Project Link
|A wiggly panorama from the Met's Streams and Mountains Without End, recently open.
|We begin from the right, streams and mountains separate but harmonious.
|Continous activity in front, behind, side to side, up and down, the mixture.
|The fusion begins. Clouds and mountains, the antinomy which is breached through water (a hackneyed paraphrase from Francois Cheng).
|In another scroll the role of water, nascent at first.
|Expanding with time.
|Tang Di, Southern Song-Yuan Dynasty period
|Li Huasheng (1944). Lines of ink cross-hatched on rice paper. Beautiful display of movement, focus, imperfection.
|Zheng Chongbin (1961). Ink poured, stamped to create landscape space.
|Back to scroll painting. Mo Shilong, Ming Dynasty. Follower of the Don Qichong school of stylized reverence for Yuan Dynasty Masters...here, Huang Gongwang.
|Wang Jian, Qing Dynasty, trained by a student of Dong Qigong again paying homage to the venerable Huang Gongwang.
|A primer on landscape painting
|The dragon's back and feet
|Ink landscape from the 1980s
|Don't miss this show...farewell for now.
|Flower and Bamboo, Ming Dynasty - from the Basketry show, now closed. NYT Review
|Qing Dynasty, Bamboo Branch with Berries and Birds
|Li Kan, Bamboo and Rocks - Yuan Dynasty, my all-time favorite period of Chinese painting
|Xia Chang, Bamboo in Wind, Ming Dynasty--gorgeous! Painting related to calligraphy: meant to be 'read' as much as visualized.
|Zheng Xie's Misty Bambooo on a Distant Mountain, Qing Dynasty (four hanging scrolls)
Light touch so well integrated with the basketry!
|And another fusion of two and three dimensions.
|Here, a dynamic combination of texture...I love its simple, bold forms and use of ink.
|Others love a world of gestures too, here late Monet.
|And here, Terry Winters and Pat Steir.
|Intermission - the beloved Joan Miro!
|His beautiful farm painting
|Georgia O'Keeffe, quintessential in this moment
|To Michael Berryhill's A Window, Adore at Kate Werble. Gallery Link
|Chelsea - Thomas Eggerer at Petzel. Gallery Link
|The show's conceit is that street space is used as living space.
|There are some beautiful details...
|Lisa Oppenheim's A Durable Web at Tanya Bonakdar. Gallery Link
|Photos of textiles.
|The show explores themes of alienation from labor--and reconnects us to textiles in fragments, abstracted, and framed--to be looked at.
|At Hauser & Wirth, a museum-quality Art Povera survey curated by Ingviled Goetz. Above, most of a reptile by Mario Merz. The neon puts me in mind of Mary Weatherford.
|Giovanni Anselmo (1934) - Projezione della mia ombra verso l'infinity at Arte Povera, Hauser & Wirth
|Gold-leafed shoe soles
|Algihero Boetti's Tutti
|Mise-en-scene, triggering beloved memories of Art Povera shows in the '80s...
|Auriel Schmidt at PPOW: I Rot Before I Ripen. Gallery Link
|Flowers, doodles, adolescence, bawdy humor.
|Flowers, snakes, skeletons, etc. "co-exist in a hyper erotic landscape of sex and death."
|There is a beautiful, exuberant world in this show.
|Janet Fish, Poppies and Pinwheels at DC Moore (works 1980-2008)
|I have long loved this artist. The complexity that happens when large forms are broken down under light in paint...her celebration of daily life...her active mark-making.
|Kara Walker at Sikkema Jenkins. Gallery Link
|Beautiful ink, collaged textures, paint like nappy hair.
|And fast painting, to the point, horrific, stomach-turning, breezy.
|The show was a shock; hard to handle the imagery--the artist let it loose and there is no holding back.
|Mary Corse at Lehman Maupin. We visited her studio in Topanga in my UCLA student years! I have never forgotten her paintings, her use of street divider paint and now, a glittery black, evenly applied but dramatic.
|In their reticence, their almost automatic production, they carry great impact.
|Detail from Franklin Evans' paintingpainting at Ameringer McEnery Yohe.
|HowI loved this analogue of Evans' art historical favorites.
|Slicing and splicing art history - the multiple personae within us externalized in the reprisal of signatures and manners of painting.
|Leslie Wayne's Free Experience at Jack Shainman. Detail.
|She speaks of the free-form moment when vision and recognition coalesce, refreshing one's vision as if for the first time--
|Through fortuitous hybrids of two and three dimensions
|We enter a fourth, an illusory, familiar and unfamiliar terrain
|In which the double take transports us somewhere new.
|Excavations and Certainties: Teri Hackett and Shari Mendelson at John Molloy
|Some small Hacketts. Teri Hackett has been building a head of steam for some years, venturing into a jazz-like syncopation of material and surface.
|While Shari Mendelson recycles antiquities within elegant new forms.