A Lifetime of Inspiration: A Review of Deborah Boardman at the Hyde Park Art Center
Boardman’s work was always infused with a light touch, gestural freedom and a sense of spontaneity.
Frankie Goes From Hollywood: A Review of Nancy Rosen at Gallery Studio Oh!
Nancy Rosen’s paintings seem to document women’s struggles for identity in contemporary urban America.
On the Ethereal Effervescence of Egg Tempera: A Review of Minami Kobayashi at Goldfinch Projects
Leaning into the inherent ethereal effervescence of egg tempera paint, Kobayashi abandons the stodgy conventional approach predicated on tight draftsmanship and a methodical build-up of crosshatched lines. Instead, she builds color and form through veils of loose brushwork.
Art Top 5: February 2019
Love and climate change (and pain and pleasure and death and hate) heat up this otherwise glacial month.
The Virtuosic Swirl, Splatter, and Drip of the Paint: A Review of Jeane Cohen at Zolla/Lieberman Gallery
An impressive debut of virtuosity from a young abstract painter.
Speaking Volumes on Black America: A Review of “Oh, Maker” At Heaven Gallery
This thoughtfully curated exhibition considers the current state of young, Black Americans through the art of our times.
The Personal and the Private Collapse in the Digital Age: A Review of “Let Me Consider It From Here” at the Renaissance Society
Vulnerability manifests as an appeal to self-care in this group show of new work.
An Expression of the Divine: A Review of Martine Syms at the Graham Foundation
An immersive and inclusive installation probes the vernacular and strange ends black womanhood in a digital age.
A Living Tribute to a Geoform Master: A Review of Tomma Abts at the Art Institute of Chicago
Tension reigns in the geometric abstractions of Turner-prize-winning painter Tomma Abts.
Escaping the Archivist’s Folly: A Review of Jeremy Bolen at Soccer Club Club
In “Casual Invisibility,” Jeremy Bolen continues to tackle previously visited themes of scientific knowledge in relation to empirical observation, but for this work, the material source now includes glass plate negatives from the Yerkes Observatory in Williams Bay, Wisconsin.
