Returning to "Greater New York" a few days after the Paris attacks, I found myself moved by the main themes underlying the exhibition: our city in particular and urban life in general; and the emergen…
Ron Nagle is among those artists working in ceramics who understand the propensity of human imagination to take flight at the humblest cue. “The minuscule, a narrow gate,” wrote Gaston Bachelard, “ope…
A scavenger whose painted appropriations strike an earnest chord, the New York-based artist Leidy Churchman (b. 1979) culls from the miraculous detritus of our visual world.
Like Robert Colescott, another artist who did not hesitate to offend in his skewering of U.S. culture, Peter Saul has never toed the line of art-world taste (or tastefulness), remaining staunchly figu…
One always treads uncertain territory with Lutz Bacher, who has made a habit of elusiveness; assuming a pseudonym early in her 40-year career, she has maintained a slippery identity for herself and he…
In opening his essay for the catalogue to “Rosalyn Drexler: Vulgar Lives,” critic and curator Robert Cozzolino aptly writes that the artist “has been discovered and rediscovered so many times that the…
Judith Scott (1943-2005) did not begin making art until her mid 40s, but over an 18-year period, from 1987 until her death, she worked on that art tirelessly.
A welter of objects and multi-medium installations, Cosima von Bonin’s Vienna retrospective reveals the German artist’s career-long commitment to artistic community.