If one had to name a single idea or type of experience underlying all of Wilkes's production, it would be that of poverty: not just the absence of money in itself, but the kind of poverty that is a…
Henry Taylor's painting has often been discussed in the context of outsider art not only because of his vivid and somewhat reductive figuration, but because of his biography: the youngest of eight chi…
Issues of race are central to Marshall’s work. The African American artist was born in Alabama in 1955, during the Jim Crow era, and grew up in Los Angeles, where he witnessed the 1965 Watts Rebellion…
Calvin Marcus’s exhibition at Clearing, titled “Were Good Men,” had a kind of nervous energy running through it. The show assembled thirty-nine oil-stick paintings whose crude rendering recalls that o…
Sadie Benning’s exhibition “Green God” took over Callicoon Fine Arts on the Lower East Side and Mary Boone in Midtown with two dozen works (all 2015 or 2016) that hover ambiguously between sculpture a…
The New Museum’s tightly curated survey of the last twenty years of Nicole Eisenman’s career and Anton Kern Gallery’s concurrent presentation of her newest works clearly showed the artist to be among…
Although William Wegman made his reputation as a photographer who combined wry humor and conceptualism, his two recent exhibitions showed him to be an accomplished painter with a sophisticated, highly…
Squeak Carnwath’s first New York exhibition in over a decade was tightly packed with paintings, sculptures and works on paper from the 1990s to the present. The earliest piece on view was the painting…
Ivan Morley’s sparse exhibition at Bortolami contained only six paintings: Tehachepi (sic) in the front room and five works in the main gallery, each titled A True Tale. While the paintings are from…