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| Nikki Maloof working in a larger scale in Caught and Free at Jack Hanley Gallery. Gallery Link |
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| In the back room, beautiful watercolor studies for the paintings. |
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| Also pencil drawings showing clear and consistent vision based in value and patterning. |
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| At Lyles & King a gorgeous survey of Mira Schor's California paintings, when she attended Cal Arts and participated in the epic Feminist Art Program. Gallery Link |
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| These works on paper have never been shown, but Schor visited painter and at -the-time instructor Tom Knechtel's art history course at Otis Art Institute of Parsons School of Design in 1983 or 4, when I was a student there, and she showed this painting. I never forgot those palm fronds. |
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| The power of landscape to alter vision is inescapable, and I love that about this show. |
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| A more recent painting, emblematic of the work Schor makes now, which derives from her cultural history, current politics, and sketchbooks. |
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| A work from the Wet period (Wet is a seminal compilation of essays written by Schor in the 1990s, which I and many others refer to, to this day). This show just opened. Don't miss it! |
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| Heading north on Chrystie to Frosch & Portmann is Elise Ensler's Diary of a Radio Junkie, 1237 days' recording of the news in small watercolor mono-and multi-chromes and pencil drawings. Gallery Link |
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| When Ensler left the project for a brief vacation, she invited colleagues to substitute! Here, Leslie Kerby. |
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| Judith Simonian, top left. |
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| This is just the smallest detail of the 1237 drawings (Engler just posted she is adding more!) |
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| Judith Page. |
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| The biggest surprise of the show is memory: how quickly we forget text, how image resurrects events, and how much has happened. |
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