Abstract painting hardly needs the new show at Thomas Robertello to confirm its relevancy in contemporary art. That said, Robertello has managed to assemble a group of artists who willingly side-step the mythic, monumental aspects of the form to concentrate on more modest achievements of color, shape and design. The two standouts here are Jim Lee and Callum Innes. New Yorker Lee is all over the place with shaped canvases and unorthodox materials, but “Untitled w/ Red Stripe” exhibits an impressive and original combination of Arte Povera-influenced sutured canvas with abundant references to minimalism and the post-painterly greats Robert Ryman and Barnett Newman. Innes’ use of shellac with oil on “Untitled” yields a glossy, stained surface whose scatological intent is only visible at close range. (Rachel Furnari)
Through August 2 at Thomas Robertello Gallery, 939 W. Randolph.
Lost in Translation: A Review of Crip* at Gallery 400 The strongest works in the exhibition succinctly express the ways the artist relates to their own body while calling out how the artist’s body and body of work has been perceived or coded against norms or ideals.
