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Elizabeth Buhe

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Ruth Asawa

The show foregrounded the biomorphic "form within a form" pieces Asawa made between the 1950s and the 1990s; for each of these, she created a series of nested bulbous shapes using a continuous line…

Amanda Ross-Ho

Though the canvases may make visible the labor of painting and the artistic process, they also bear the marks of sprawling imagination.

 

 

Rosy Keyser

 

A series of canvas-based works called "Periscopes" suggests that Keyser may be moving away from messy, loose gestural abstraction and toward more controlled brushwork.

 

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Carmen Neely

Carmen Neely titled the eight paintings in her first New York solo show after phrases she had recently heard (“Just gotta caress it a little,” “Don’t just hope it!,” “A good fortune can ruin your life…

Roy Colmer

In a brief artist's statement for the catalogue accompanying the 2006 exhibition "High Times, Hard Times: New York Painting 1967-1975," Roy Colmer (1935-2014) mentioned video feedback no less than thr…

Duane Linklater

In this exhibition, which originated at Mercer Union in Toronto, Duane Linklater offered an assortment of artworks by himself and by family members that raised urgent questions about how institutions…

Loie Hollowell

For her first exhibition at Feuer/Mesler and second solo presentation in New York, painter Loie Hollowell hewed to a personal vocabulary of forms—almonds, bullet-shaped protuberances, slender-peaked d…

Cecily Brown

The title of Cecily Brown’s exhibition at the Drawing Center, “Rehearsal,” was intended to reflect the meaning of the Old French version of the term. Rehercier, a wall text instructed, meant “to go…

Lynda Benglis

Speaking with a Los Angeles Times reporter in 1989, Lynda Benglis expressed her disdain for a Puritan strain of society that, as she put it, “gets nervous if things are too pleasurable, too…

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