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| Lynette Yiadom-Boakye at the New Museum, now down. New Museum Link |
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| Brushy portraits with an all-at-once feel. |
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| Figures on par with their surrounding when there are surroundings--a world where figure and object are interchangeable, eschewing hierarchy. |
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| Odele E. Zhang's pop-up at Parasol Projects. She views painting as live action, an act of 'broadcasting' completed in the moment. |
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| 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. |
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| Parasol Project Link |
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| A wiggly panorama from the Met's Streams and Mountains Without End, recently open. Met Link |
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| We begin from the right, streams and mountains separate but harmonious. |
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| Continous activity in front, behind, side to side, up and down, the mixture. |
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| The fusion begins. Clouds and mountains, the antinomy which is breached through water (a hackneyed paraphrase from Francois Cheng). |
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| In another scroll the role of water, nascent at first. |
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| Expanding with time. |
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| Mature |
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| Tang Di, Southern Song-Yuan Dynasty period |
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| Li Huasheng (1944). Lines of ink cross-hatched on rice paper. Beautiful display of movement, focus, imperfection. |
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| Zheng Chongbin (1961). Ink poured, stamped to create landscape space. |
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| Back to scroll painting. Mo Shilong, Ming Dynasty. Follower of the Don Qichong school of stylized reverence for Yuan Dynasty Masters...here, Huang Gongwang. |
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| Wang Jian, Qing Dynasty, trained by a student of Dong Qigong again paying homage to the venerable Huang Gongwang. |
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| A primer on landscape painting |
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| The dragon's back and feet |
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| Ink landscape from the 1980s |
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| Don't miss this show...farewell for now. |
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| Flower and Bamboo, Ming Dynasty - from the Basketry show, now closed. NYT Review |
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| Qing Dynasty, Bamboo Branch with Berries and Birds |
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| Li Kan, Bamboo and Rocks - Yuan Dynasty, my all-time favorite period of Chinese painting |
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| Xia Chang, Bamboo in Wind, Ming Dynasty--gorgeous! Painting related to calligraphy: meant to be 'read' as much as visualized. |
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| Zheng Xie's Misty Bambooo on a Distant Mountain, Qing Dynasty (four hanging scrolls) Light touch so well integrated with the basketry! |
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| And another fusion of two and three dimensions. |
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| Here, a dynamic combination of texture...I love its simple, bold forms and use of ink. |
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| Others love a world of gestures too, here late Monet. |
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| And here, Terry Winters and Pat Steir. |
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| Intermission - the beloved Joan Miro! |
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| His beautiful farm painting |
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| Balthus! |
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| Georgia O'Keeffe, quintessential in this moment |
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| To Michael Berryhill's A Window, Adore at Kate Werble. Gallery Link |
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| Chelsea - Thomas Eggerer at Petzel. Gallery Link |
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| The show's conceit is that street space is used as living space. |
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| There are some beautiful details... |
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| Lisa Oppenheim's A Durable Web at Tanya Bonakdar. Gallery Link |
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| Photos of textiles. |
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| Actual textiles. |
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| The show explores themes of alienation from labor--and reconnects us to textiles in fragments, abstracted, and framed--to be looked at. |
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| 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. |
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| Giovanni Anselmo (1934) - Projezione della mia ombra verso l'infinity at Arte Povera, Hauser & Wirth |
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| Gold-leafed shoe soles |
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| Algihero Boetti's Tutti |
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| Mise-en-scene, triggering beloved memories of Art Povera shows in the '80s... |
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| Michaelangelo Pistoletto. |
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| Auriel Schmidt at PPOW: I Rot Before I Ripen. Gallery Link |
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| Flowers, doodles, adolescence, bawdy humor. |
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| September show... |
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| Flowers, snakes, skeletons, etc. "co-exist in a hyper erotic landscape of sex and death." |
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| There is a beautiful, exuberant world in this show. |
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| Janet Fish, Poppies and Pinwheels at DC Moore (works 1980-2008) |
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| Gallery Link |
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| 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. |
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| Kara Walker at Sikkema Jenkins. Gallery Link |
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| Beautiful ink, collaged textures, paint like nappy hair. |
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| And fast painting, to the point, horrific, stomach-turning, breezy. |
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| The show was a shock; hard to handle the imagery--the artist let it loose and there is no holding back. |
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| 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. |
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| Gallery Link |
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| In their reticence, their almost automatic production, they carry great impact. |
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| Detail from Franklin Evans' paintingpainting at Ameringer McEnery Yohe. |
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| HowI loved this analogue of Evans' art historical favorites. Gallery Link |
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| Slicing and splicing art history - the multiple personae within us externalized in the reprisal of signatures and manners of painting. |
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| Leslie Wayne's Free Experience at Jack Shainman. Detail. |
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| Gallery Link |
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| She speaks of the free-form moment when vision and recognition coalesce, refreshing one's vision as if for the first time-- |
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| Through fortuitous hybrids of two and three dimensions |
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| We enter a fourth, an illusory, familiar and unfamiliar terrain |
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| Detail |
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| In which the double take transports us somewhere new. |
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| Excavations and Certainties: Teri Hackett and Shari Mendelson at John Molloy |
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| Gallery Link |
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| 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. |
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| While Shari Mendelson recycles antiquities within elegant new forms. |
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