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Solo Shows

Camilla Fallon: Womanizer

Contributed by Amanda Church / Following the fleshy path of Rubens, Lucian Freud, Joan Semmel, and Cecily Brown, among many others, Camilla Fallon has recently focused her loose, lush brushwork on the female body’s midsection, specifically the navel. “The Navel Is the Center,” her current show at The Painting Center, consists of eight medium-scale paintings and four very small ones, most providing an intimate view of this inverted body part. Under such close scrutiny, it becomes symbolic, implying vulnerability, contemplation, and introspection. 

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Conversation

Yura Adams: A freewheeling conversation with Daniel Giordano

Daniel Giordano: Yura, I want to play a game of me spitting out a question and you rattling off an answer. A real Martin Kippenberger special of a “first thought, best thought” type response to keep us on our toes… Okay, so here we go: What artists do you steal from most and what bag of tricks did you whip out to aid in the making of your installation at Olympia?

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Solo Shows

Maria Helena Vieira da Silva: Master of the grid

Contributed by David Carrier / Thanks to remarkably cultivated parents, Lisbon-born Maria Helena Vieira da Silva (1908–1992) was exposed to a lot of important art from early on. When she was just five, she saw the work of Paolo Uccello, a clear influence, in London’s National Gallery. Moving to France in 1928, Vieiro da Silva showed in Paris in the late 1920s and 1930s, took refuge from the German occupation during World War II in Brazil (her husband, Arpad Szenes, was a Hungarian Jew), and after the war returned to Paris, where she had a successful career. The expertly installed exhibition currently at the Peggy Guggenheim Collection in Venice aims to bring her art to the attention of contemporary audiences. 

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Solo Shows

Jan Dickey: The art of breakdown

Contributed by Lucas Moran / In art, limitations often define, shape, and mold strengths. We can embrace drawbacks and spin them into gold. An impoverished de Kooning, living off ketchup packets and free coffee, turned to house paint to create some of his most compelling work. A bedridden Matisse cut paper. Scarcity, oppression, impairment – these forces have shaped the course of art history. Rather than relying on convention, Jan Dickey – investigator, tinkerer, and forager as well as painter – has immersed himself in studying how things break down, bond, and hold together. “The High Collapse,” now on view at 5-50 Gallery, is the culmination of that endeavor….

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Solo Shows

Benjamin Klein’s quiet defiance

Contributed by R. Blake Miller / Benjamin Klein’s solo exhibition “Sentinels and Satellites” at Tappeto Volante Gallery is at once enchanting and unnerving, like the fresh memory of a dream seen vividly even as it slips away. With an unapologetically saturated palette, the Brooklyn-based artist lays down paint in both translucent coats of tinted light and thick pools, blending natural textures with sublime color-mixing techniques. A surreal story involving animals and their plant counterparts unfolds. What initially feels inviting and innocent becomes tinted by dread. Mythic symbols hover beyond easy reading, coaxing viewers to explore their relationships with art more deeply.

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Resident Artist

Meet Two Coats Resident Artist: Bryce Speed

Contributed by Sharon Butler / This month, the Two Coats of Paint Residency Program welcomes Bryce Speed, a painter and professor at the University of Alabama in Tuscaloosa. In his intriguing abstractions from 2023–24, Bryce embedded architectural structures but refrained from fully imparting the specificity required to identify a particular situation or place. Instead, he played with the position of shapes within the picture plane to create subtle relationships and illusions of space….

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Art Fairs

Painting report: SPRING/BREAK and the Future Fair, 2025

Contributed by Fay Sanders and Bob Szantyr / Spring fair season is here, and our annual tradition is to try to see as much art as possible in one day. This year, Spring/Break Art Show, located at 75 Varick Street, was less sprawling, recalliing the spirit and energy of the event’s earliest years. The location made it a quick trip from the Future Fair in Chelsea via the 1 train.

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Artist's Notebook

Jack Whitten: A force for upending

Contributed by Natasha Sweeten / Walk with me, backwards through time. See Jack Whitten painstakingly remove over two thousand tiles of hardened acrylic paint from his canvas. Watch as he assembles them into a large, flat plane, carefully unslices them from tiny squares, and then unsplatters and unpours the black and white paint. We’ve reached that final moment, in 1990, when the idea for The Messenger (for Art Blakey) is alive only in the artist’s mind. It is a fireball that has hurtled through years of searching, experimenting, suffering, loving, being lost, being overlooked, being angry — and now is ready to take hold….

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Catalogue Essays

Daina Higgins: At Home with Discord

Contributed by Jonathan Stevenson / Daina Higgins began her vocation as an artist in the 1990s as a quintessential outsider: she was not only a graffiti artist in her native Columbus but also one of the few young women then so engaged there. Her noirish attraction to the oblique angles and ominous shadows of a presumptively benighted urban landscape in the Rust Belt has never flagged. At the same time, her paintings and drawings have acquired the existential gravitas that comes, if an artist has the requisite talent and mind, with the travails of life, the burden of lineage, and the compulsion to reflect on them.

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Solo Shows

Rick Briggs’s compositional irreverence

Contributed by Jason Andrew / It’s refreshing and a little humbling to walk into a gallery and be blitzed by art that’s cleverly derived from years of play, probing, and practice. Rick Briggs’s solo show at Satchel Projects shows us how open-ended and liberating painting can be.

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Solo Shows

Curtis Mitchell’s powerfully oblivious dogs

Contributed by Adam Simon / I tend to rail against art openings. Few attendees of a crowded art opening ever get to really see the show; the glimpses they’re afforded are more like scrolling Instagram than anything approaching contemplation. I felt differently at the opening of Curtis Mitchell’s pop-up show “19 Black Dogs” at the untraditional talent agency called No Agency on Bowery. The work does lend itself to contemplation, but at the opening of this show, Mitchell’s sculptures – stuffed dogs he purchases on the internet and then abuses in various ways – were contextualized by a young, hip crowd, connected I assume to No Agency rather than to Mitchell. Some appeared to be fashion models. 

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Gallery shows

A tight three at Field of Play

Contributed by Michael Brennan / “A creative economy is the fuel of magnificence,” said Ralph Waldo Emerson in another context. As much as I respect institutional Minimalism, economy in painting excites me more, and what could be more economical than a three-person, three-painting exhibition presented in a 135-square-foot space with one empty wall? Artist Mark Sengbusch has scrupulously curated “3 Painters” at Field of Play in Gowanus in accord with his own personal Periodic Table, in which each artist represents a specific Element. Charlotte Hallberg is field, Clare Grill is air, and Victoria Roth is depth.

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Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide: May, 2025

Contributed by Sharon Butler / May is Art Fair Week in New York, but don’t forget to visit the galleries. A few have closed since our last guide—Dinner, Spanierman, and Pocket Utopia are all taking a break. Nathalie Karg is on hiatus. On a brighter note (literally), be sure to see “LFG” at The Hole, a group exhibition featuring blinking LED lights, painting, sculpture, and installation informed by video game aesthetics. McBride/Dillman, the newest…

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Gallery Guides Hudson Valley & Vicinity Gallery Guide

Hudson Valley (+vicinity) Selected Gallery Guide: May 2025

Contributed by Karlyn Benson / The first weekend of May is packed with shows opening and closing around the region. On Friday, May 2, “The River That Flows Both Ways: Ever Baldwin, Erika DeVries, Clarity Haynes, Portia Munson” opens at RUTHANN in Catskill. On Saturday May 3, Hudson-based Italian artist Lucio Pozzi opens at Philip Douglas Fine Art in Hudson, and “Ellon Gibbs: The Color Blue is Warm” opens at Gallery 495 in Catskill. Nearby in Hillsdale, LABspace opens two solo shows, Susan Meyer and Carlton Davis. In Kingston, “More Than Any Mirror” with Benjamin Herndon and Adie Russell opens at Headstone, and in Cold Spring, an exhibition of landscape paintings by Lisa Diebboll opens at Buster Levi. In the Catskills, Wade Kramm, Howard Schwartzberg, and Susan Silas are opening at Catskill Art Space, and a group show “Feeding Our Demons” opens at 1053 Gallery. Also on May 3, “Nature Reimagined” blooms with Rachel Burgess, KK Kozik, F Lipari and Warner Friedman opens at Bernay Fine Art in Great Barrington, MA. In Kent, CT, Carol Corey Fine Art will host an exhibition of works by legendary New Yorker cartoonist Roz Chast for the gallery’s final show. Sunday, May 4 is the last chance to see three excellent exhibitions at CPW in Kingston: Mary Ellen Mark’s “Ward 81, My Sister, My Self;” Colleen Kenyon and Kathleen Kenyon, and Keisha Scarville in “Recess.” Sunday is also the last day for Amy Talluto’s solo show at the Garrison Art center. A new gallery, Ligenza Moore Gallery, is opening in Cold Spring on May 24 with a group show featuring work by Katherine Bradford, Don Voisine, Judy Pfaff, Chris Martin, Meg Hitchcock, and others.

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Museum Exhibitions

J.M.W. Turner at 250: Presciently modern

Contributed by Laurie Fendrich / Some 250 years after the birth of the English Romantic painter J.M.W. Turner (1775–1851), the Yale Center for British Art has re-opened its renovated Brutalist building with a perfectly scaled, carefully curated exhibition of 77 Turner prints, watercolors, and oil paintings from its collection of his works, the largest outside Britain. 

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