Contributed by Peter Schroth / Artist Polina Barskaya – born in Ukraine, raised in Brooklyn, now living in Italy – paints intimate portraits of domestic life. In “The Good Life,” her current exhibition at Harkawik, the life in question encompasses a self-contained triangle of father, daughter, and mother, the latter being the artist and observer. It’s hard to take such a title at face value – especially, perhaps, in light of current events. Except for one painting set in a courtyard, the strictly interior world of the home – be it a private residence or a hotel room – is depicted. Each scene is rendered within a symmetrically balanced box in one-point perspective and contains a central anchoring element. These snug spaces take on a womb-like character, suggesting not only nurture or shelter but also isolation.
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Georges Rouault: The spirit of the visual
Contributed by John Goodrich / Georges Rouault’s star has fallen considerably since 1945, the year the curator and collector James Thrall Soby dubbed him “one of few major figures in 20th century painting.” The artist’s religiosity and stained-glass-window style are not so captivating today. …The 21 paintings now on view at Shin Gallery invite a reassessment. Organized in conjunction with Skarstedt Gallery, the exhibition offers a particularly strong selection of the Rouault’s work.
Two Coats Resident Artist Sage Tucker-Ketcham, July 20–25
Contributed by Sharon Butler / This month, Two Coats of Paint welcomes Vermont artist Sage Tucker-Ketcham. Sage’s recent nature-based work operates in the space between observation, memory, and imagination. Each painting begins with something she saw on a walk or caught in her peripheral vision from a car window – moments that lodge into her consciousness, like seeds waiting to germinate.
Glenn Goldberg and Mary DeVincentis
Artist Glenn Goldberg sat down with painter Mary DeVincentis during her recent solo show at Tappeto Volante Projects to explore the connections between personal experience and artistic expression. Their conversation reveals an artist whose work emerges from a lifetime of witnessing — from childhood visits to a state hospital where her mother worked as an art therapist, to her journey through loss and spiritual questioning. They discuss her latest series — paintings of solitary women who inhabit liminal spaces between memory and projection. DeVincentis discusses how her recent discovery of aphantasia — the inability to form mental images — has shaped her simplified visual vocabulary. She also draws inspiration from mythological women punished for disobedience, reimagining them as empowered by their behavior.
Hudson Valley (+vicinity) Selected Gallery Guide: July 2025
Contributed by Karlyn Benson / The Hudson Valley region is gearing up for Upstate Art Weekend, which runs for five days, from Thursday, July 17 through Monday, July 21. This year’s edition includes over 155 participants, with dozens of openings, performances, artist talks, and other events. July is a great month for excursions to the Catskills to explore an expanding selection of galleries and art spaces. Highlights include Arlene Schechet’s solo show at Catskill Art Space and Leo Koenig’s outpost in Andes. Another not-to-be-missed summer event is Art Omi’s Open Studios on July 12 from 1–4 pm. It’s the last chance to visit Pamela Salisbury Gallery in Hudson, as they are closing their current location on July 20. In Beacon, Mother Gallery reopens after a break in programming to present Line Load, a group show with work by Kerri Ammirata, Trudy Benson, Lauren Anaïs Hussey, Meg Lipke, and Paola Oxoa.
Lina McGinn’s whimsical gravitas
Contributed by Jonathan Stevenson / “Dear John” – Lina McGinn’s absorbing and ostensibly playful solo show of sculptures at the expansive Europa Gallery in the Two Bridges neighborhood – manifests fine technique and a conceptual sensibility deeper than it might first appear. Using fiberglass resin and polymerized gypsum to isolate and fix discarded and distressed cardboard boxes in a range of anthropomorphic poses, she achieves something quite familiar in art – the personification of inanimate objects – in a singularly inventive way.
NYC Selected Gallery Guide: July, 2025
Contributed by Sharon Butler / A special note to New Yorkers who, like me, are loath to leave the city over holiday weekends or at any point during the summer, really: always check to see if galleries are open on Saturday. Chances are they aren’t. Many gallerists, kind of like Bartleby, simply prefer to close up shop for the entire long weekend. Other galleries, possibly your favorites, are shuttered until late summer or early fall, back to work only after the dust has settled from the September art fairs and blockbuster openings. For the hardcore stay-cation crowd of course, a slew of wonderful group shows are on view – sometimes freewheeling affairs in which emerging artists hang alongside more established ones we know and perhaps love. Where possible, I’ve listed the artists in each show so that you can hunt down the names already on your radar or target a few less familiar up-and-comers. Some of my best memories involve wandering around a nearly empty gallery with the editor on a sweltering summer afternoon and then ending up in a dark hideaway, drinking pints and arguing about the shows we saw. Save the shore for the off-season. As my mother, a woman who lived in a seaside town for most of her life, used to say, why go to the the beach in the summer? It’s a mob scene!
Rachel Ruysch: Late bloomer
Contributed by David Carrier / Significant twentieth-century artists occasionally depicted flowers. Andy Warhol was one, Ellsworth Kelly another. But it’s hard to think of any major painter today who focuses predominantly on them. Rachel Ruysch (1664–1750) lived in a very different world. Thanks to the bountiful worldwide empire of Golden Age Holland, even this stay-at-home painter could obtain an amazing variety of imported flowers. The Toledo Museum of Art’s “Nature into Art,” drawn from her 150 surviving works, is, improbably, the first major exhibition devoted to her. Botany thrived in Ruysch’s time due in part to Dutch imperialism. Flower painting became a major artistic genre, and she and her rivals enjoyed access to an enormous variety of exotic flowers (and insects). Critics rightfully consider her pre-eminent. “At her best,” the catalogue says, “Ruysch painted like a novelist, creating scenes within a framework at large.“ Indeed, her intricately crafted, remarkably varied paintings convey the story of Dutch capitalism.
Ridley Howard: Sky high
Contributed by Amanda Church / In his exhibition of similarly sized small-scale paintings titled “Sky,” now up at Marinaro, Ridley Howard applies his usual paint-handling panache to celestial expanses of blue. The surfaces are flawless and smooth, as are the porcelain faces of the women he depicts. The skies’ shades vary, and clouds make an occasional appearance, but there’s a pervasive sense of clarity and tranquility punctuated by partial views of treetops, cocktails, and impassive female faces. The usually stark tableaux sometimes border on the surreal. Howard’s Summer Moon, for instance, echoes Magritte’s The Banquet, minus the figure.
Michele Abramowitz’s improbable terrain
Contributed by Suzanne Joelson / I needed to write about Michele Abramowitz to understand the uncanny allure of her paintings, now on view at Kate Werble Gallery. She brings life, or something like it, to familiar conventions. Shifts in figure and ground trick the eye as it negotiates improbable terrain, that looks more like a dream than a product of twentieth-century formalism. Resemblances abound, shift, dissolve, mimic, repeat. Each painting is at once assuring and destabilizing.
Frank Webster: Travels in Austurland
The following are excerpts from the journal and sketchbooks Frank Webster kept when he visited the Vatnajökull ice cap region in Iceland last August.
Lexia Hachtmann’s surreal humanism
Contributed by Chunbum Park / The title of British-German painter Lexia Hachtmann’s solo exhibition “Waiting Room,” at YveYANG in Soho, alludes to David Lynch’s surrealist television series Twin Peaks, in which the “red room” or “waiting room” is an extradimensional space where time does not flow sequentially. The program ushered in the 1990s, when Hachtmann was born. In the moment, the nineties seemed to be the height of the American Century and still evoke nostalgia. Often overlooked is the fact that during this supposedly halcyon epoch, popular culture normalized homophobia, sexism, and racism more than it does now, even when Trumpist backsliding is taken into account. Hachtmann confronts this kind of slippage between memory and reality with subtlety and heart.
Jacqueline Gourevitch: Skying abstraction
Contributed by Jason Andrew / Jacqueline Gourevitch’s resilience stems from restraint and slow observation. From her first solo exhibition in 1958 to the current striking survey of 21 cloud paintings dating from 1965–2018 at Storage Gallery in Tribeca, the nonagenarian has shown that sustained attention to a single subject can yield infinite and dynamic variations.
Tommy White: Dark victory
Contributed by Jonathan Stevenson / Entering Tommy White’s cave-like Crown Heights studio, you’re struck by the fathomless matte black on his canvases, fate knocking at the door. It can serve both to seduce and to dare, drawing you in and pushing you out.
Two Coats Resident Artist Marie Thibeault, June 15–19
Contributed by Sharon Butler / From June 15 to 20, Two Coats of Paint will be hosting LA artist Marie Thibeault for her second residency. Marie has spent years immersed in the world of color and geometry, vividly translating the rigid language of architecture, the logic of technical data, and the unpredictable realm of human emotion onto the canvas. She explores the intersection of science and imagination in visual stories of environmental instability that incorporate references to scientific diagrams, predictive models, cartographic references, geological graphics, weather charts, and photographs. Although she employs abstraction to clear and substantial effect, she considers herself primarily a landscape painter and counts among her strongest influences Paul Cézanne, drawing especially on the dynamic horizontal planes of his work.