Opening Rounds

Katia Santibanez at DC Moore in Anima Lumens, her first solo show with the gallery. For accurate photos (iPhone is subduing the color) visit link here: Gallery Link

As the catalog essay points out, the "ruptured grids" of the trees recall stained glass windows that face contre jour, or "against the day" to heighten backlighting.

The color slowly builds from neutral to intense from the painting edges inward
reaching a crescendo of light in the middle.

A work on paper in the back room, linking Santibanez' prints and paintings as well as with the room of sketches by Charles Burchfield--a serendipitous choice to show with her work.

Burchfield notations

Roberta Smith wrote about it in the 9-9-2021_Smith_NYT, what more to say but go and go quickly. Philip Guston 1969-1979 at Hauser & Wirth in an epic, splendid, spectacular show of the late work from the shocking McKee exhibition with klansmen that earned the artist Hilton Kramer's ire in the NYT, onward. 

About which Guston remarked it had everything he knew in painting. 

Detail from a painting showing the strange flattening of space that recurs in several works.

Minimal, calligraphic surface as the brush turns this way and that--must be seen in person.Gallery Link

Kay Rosen at Sikkema Jenkins continues her longstanding practice of wordplay.
Gallery Link

In the back room, a sweet Louis Fratino watercolor.

Kay Rosen.

Tomory Dodge at Miles McEnery focusing his work in a new-to-this-viewer portrait.

 Gallery Link

Amy Lincoln's debut at Sperone Westwater. A concise, excellent show Gallery Link

Have always loved this work, including Lincoln in my 2017 curatorial endeavor Strange Flowers: Gallery Link

Debbie Brown in Quiet City at Anna Zorina's temporary space at the High Line Building, organized to showcase her work in tandem with her Hall Foundation survey in Germany. This is the painting I want. Gallery Link 

Detail from a larger work showing the movement of brushstrokes within transparent surfaces, the doppelganger-like duplication of canine and leash, the magic of shadow as a geometric carving up of surface. As with many artists Brown cycles through motifs in her work, resuscitating earlier focus on dogs, and urban environments, within the larger, complex narrative tableaux seen here and in Europe.