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| Peter Doig at Werner, uptown. http://www.michaelwerner.com/exhibition/3832/information Deep chromas, grid work, free paint handling and relationship of study to large work characterize this show. |
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| Studio portrait |
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| Large version (small to follow shortly). Banded horizon. Textural shifts of black from figure to horse. Odd landscape-making boxes on the left. Magenta river. |
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| Urban animal |
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| Like Guston, Doig can handle an emerald green. |
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| Small study of horseback, in another room. |
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| Fishing study presented on easel with clamp light, best way to see the work. |
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| The larger painting. Water below has a lot of color not absorbed by the iPhone 4. |
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| Strong, heavy paint then ethereal, scrubbed areas interacting. |
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| At the incredible HC Westerman show at Venus over Mars, full of bite, pathos and political critique. http://www.artnews.com/2015/11/06/h-c-westermann-see-america-first-at-venus-over-manhattan/ |
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| Not to mention solid, brilliant technical skill in all areas of 2- and 3d. Here, Arizona, on the Navajo grounds I visited in 2013 while in residence at Wupatki National Monument. Could recognize the vibe and the space right away. |
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| And here a different view, an allee brutishly drawn, elegantly colored. |
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| John Walker, Looking Out to Sea at Alexandre. http://www.alexandregallery.com/john-walker |
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| He establishes a landscape, and then starts to riff. |
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| Pulling on the patterns of the African textiles he collects and reveres, |
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| and using pattern to navigate the space. |
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| On the LES, a new show by Eleanor Ray at Steven Harvey. http://www.shfap.com |
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| I'd not seen this work before. There were some real gems, this my favorite. |
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| She worked at the Judd Foundation in Soho for some of the works. The relationship of geometry and brushwork recalls, in posting more than in presence, Morandi. A small world of shifting colors and planes... |
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| Stephen Maine at the National Arts Club Marquis Gallery http://www.nationalartsclub.org/Default.aspx?p=DynamicModule&pageid=346933&vnf=1 |
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| Paint as print: opaque impasto overlays on transparent grounds. |
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| The tufts of paint on the overlays catch the light and with the simultaneous contrast of the colors, lead the eye to see blurs and vacillations |
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| Close to, the added surprise of light density on darker transparency surprises the eye. |
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| A well-curated show at the Painting Center: Ulterior Motif http://thepaintingcenter.org/exhibitions/ulterior-motif |
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| Glenn Goldberg |
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| Colin Thompson, Glenn Goldberg and Elisabeth Kley in an inspired combination |
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| Hermine Ford |
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| Anoka Faruqee's optical surface |
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| One view: Ford, Faruqee and Fratkin |
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| Scroll by David Fratkin |
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| Jessica Weiss, a big wallpaper portrait |
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| Stamping and collaging |
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| Jill Levine - paint on sculptural form |
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| Susan Wanklyn - egg tempera on board |
