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Janet Koplos

Two Schools of French Jewels

Two French jewelry companies—each, family firms over 100 years old—are currently displaying  historic examples of their wares  in New York museum exhibitions. Van Cleef & Arpels has filled the Cooper…

Odili Donald Odita

Eight large-scale paintings on canvas and walls (all 2010), and an earlier piece on Plexiglas, comprised Odili Donald Odita's second solo at Jack Shainman. All nine are showstoppers. Odita continues

Craig Kauffman

The two circular wall sculptures from Craig Kauffman’s “Donut” series, shown in Danese’s smaller gallery during this exhibition of his late work, were from 2001, but they provided the kind of zing

Angelo Filomeno

Angelo Filomeno attributes the prominence of death in his work to life experience—the early loss of both his parents. He also draws on historical precedents (they are abundant in art) and has found…

Greg Stimac

The dark 24-by-30-inch photographs lining the walls at Andrew Rafacz seemed scattered with stars. But a close look revealed that each shows, in fact, a constellation of bugs: that supernova might be…

Ivan Morley

In his first New York outing, Los Angeles painter Ivan Morley, who has been showing in Santa Monica and in Europe for the last decade, offered his distinctive blend of palpability and palaver in eig…

Chip Off His Own Block

Extending the pop-culture foray of its manga and tin toys shows last year, the Japan Society focuses currently on a single Nineteenth Century designer woodblock prints. Utagawa Kuniyoshi (1797–1861) d

Kiel Johnson

Kiel Johnson’s show of two- and three-dimensional works (all dated 2009) highlighted the manual dexterity and conceptual wit that have earned him recognition in L.A. His busy drawings and quirky const…

Gary Lang

The two small rooms at the front of this gallery both did and didn’t prepare the viewer for what was to come. The small selections of Gary Lang’s paintings of horizontal lines in one room and of “plai…

Mia Feuer

“Displacement,” Mia Feuer’s exhibition of two constructions, occupied—in the threatening sense—the galleries of this North Philadelphia alternative space, which is located in a huge mill building that

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