Is it not social practice to provide an experience in which a different kind of attention and, above all, a different kind of thinking is demanded?
Joe Fyfe
Joe Fyfe (b. 1952) has shown his work internationally since the early 1980s. His work was included in the legendary "Times Square Show," New York (1980) organized by Colab; and his work has been the subject of solo exhibitions at Christian Lethert, Cologne; ACME, Los Angeles; White Columns, New York and James Graham & Sons, New York; Galerie Bernard Ceysson, Luxembourg and Galerie Ryellga, Hanoi, Vietnam among others. His next solo exhibition will be at Longhouse Projects NYC in December 2014. Fyfe’s writings have appeared in Artforum, Art in America, Artnet.com, Gay City News, Artcritical.com, Art On Paper, and BOMB, as well as numerous catalog essays. He has curated exhibitions for Zurcher Studio, New York; Cheim & Read, New York; and Apex Art, New York, among other venues.
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A Posthumous Life for Painter Claude Rutault’s Improvisations
Experiencing Rutault’s works is like being confronted with one’s beliefs, one’s own faith in painting, or lack of it.
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Memories of a Long-Gone, Gritty New York
Bill Rice’s paintings are glimpses of Manhattan’s old East Village of crime, abandonment, cruising, and hanging out.
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Hans Hartung, No Matter What They Say
Hartung’s work most likely didn’t go over well in the heyday of conceptualism, earth art, and the literal use of materials.
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Painting Outside the Safe Zone
It is not so much what message is narrated or illustrated, but how the form of the painting is questioned in its realization.
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Stanley Whitney’s Machine for Painting
Whitney’s paintings at this point seem to embody the transitory.
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In Search of More Brutalism
The disavowal of blighted Brutalist structures is a rejection of the unconditional love of imperfection.
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When Photorealism Meets Delacroix
Robert Bechtle’s photorealist pictures of suburban California resist exoticism as much as Delacroix’s paintings of Algerian harems.
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You Are in Good Hands with Matt Connors
Connors has arrived at a synthesis of what, up until now, has been a stylistically identifiable but rather diverse output.
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Ephemera, Wives, Paint: Cézanne & Picasso
Masters of painting are occupying major venues in New York this winter. Egon Schiele at the Neue Galerie, Matisse cutouts at MoMA. In addition, the rival Picasso exhibitions at Gagosian and Pace are noteworthy, as is Madame Cézanne at the emblazoned, tarnished Met.
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The Uses of Pleasure: Michelle Grabner at James Cohan
What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.
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Matisse’s Garden of Problems: The Cut-Outs at MoMA
The much-heralded exhibition of Matisse cut-outs currently at the Museum of Modern Art was previously at the Tate Modern, with a few less items than here, but it broke all attendance records and was open all night in its final days.
