Art Review by Katherine Keltner. Jennifer Packer’s solo show, The Eye is not Satisfied with Seeing, installed on the 8th…
January 7, 2022 INTERVIEW WITH PAINTER, RHIA HURT By Jennifer A. Gonzalez, Professor, History of Art and Visual Culture, the…
Upon entering Angelina Gualdoni’s recent solo show, “The Physic Garden,” at the Asya Geisberg Gallery in Chelsea, I was immediately transported through the paintings on view into, what felt like, an esoteric alchemical cellar in medieval Europe.
Growing up in rural Georgia on land that was once a rock quarry and later living in New York City, MaDora Frey’s work expresses her romantic regard for landscape and her search for the sublime. During the Pandemic, Frey found the outdoors an inspiring art lab, creating ephemeral interventions in the landscape and then photographing them. Her sculptural paintings in the studio are meditations on her experiences in the outside world.
The current exhibition at Marian Goodman, Multiples, Inc.: 1965-1992, curated by Dieter Schwarz, includes 150 works by 70 artists. The show is titled after the name of the publishing company that Goodman founded with four partners in 1965, which became the backbone for her eponymous gallery that opened in 1977.
At Five Myles Gallery – a solo exhibition by Etty Yaniv in the front Plus/Space: “Into the Maelstrom”. In the main gallery, a four-person exhibition co-curated by Charlotta Kotik and Hanne Tierney. It matches up two sculptors, Gerard McCarthy and Gunnar Theeland with two painters, Kathleen Maximin and Michael Filan.
On view through November 9th are Kiki Smith River Light and Outlooks: Martha Tuttle, two separate exhibitions that share an installation art character in that they are made of many parts, but otherwise very different in feel and temperament.
Jennifer Guidi’s exhibition “Gemini” opened February 28th, 2020 at the Gagosian gallery in New York City. The exhibition was scheduled to close April 4th but was extended to May 30th due to the Coronavirus pandemic. Gemini is an ambitious large-scale exhibition, composed of paintings and a solitary architectural intervention.
This is the second part of a three-part series featuring Elizabeth Murray, that traces Katherine Keltner’s experience in the art world through her work for key artists and an art historian and critic, all of whom have had significant impacts both on contemporary art in New York and beyond.
This is the first part of a three-part series that traces my experience in the art world through my work for key artists and an art historian and critic, all of whom have had significant impacts both on contemporary art in New York and beyond, and on my own development as an artist.