print September 2020

Richard Bosman

Richard Bosman is renowned for his noirish paintings, which often feel like settings for the artist himself to play out his hard-boiled fantasies full of bloody knives, mutilated bodies, and dimly lit mise-en-scènes. Yet the artist’s crude brushwork and comic-book aesthetics—along with a generous dollop of black humor—frequently lighten the load. But Bosman’s exhibition at Nicelle Beauchene Gallery, which featured nine modestly sized acrylic-on-paper paintings made between 1979 and 1980, struck a decidedly different tone and seemed more indebted to the stylings of ’50s science fiction and mystical

print July/August 2020

Antonio Lopez

Antonio Lopez (1943–1987) was born in Utuado, Puerto Rico, and relocated with his family to New York’s Spanish Harlem in 1950, where he honed his artistic inclinations by assisting his mother and father in their respective occupations: dressmaker and mannequin producer. In the early 1960s, while studying at the Fashion Institute of Technology in Manhattan, Lopez met Juan Ramos (1942–1995). For a time, they were lovers, but it was their lifelong creative partnership—Lopez as illustrator, Ramos as art director—that established their preeminence in the fashion industry for more than twenty years,

print March 2020

Hernan Bas

In Hernan Bas’s exhibition at Lehmann Maupin, the artist punctured the notion that any given situation has a single truth or reality by highlighting the combination of fact and fiction that contributes to our perception of historical record, politics, news, or cultural rites. With the exception of the show’s single freestanding screen, each of the seven large-scale acrylic-on-linen paintings featured a young man, or groups of men, as the locus of a formally elaborate tableau which together took on a panoply of topics—the supernatural, homosexuality, mass media, fantasy, alienation, memory, and

picks February 10, 2020

Mark Ryan Chariker

Many artists claim connection to the painterly canon, but Mark Ryan Chariker applies rare authenticity—and invention—to this assertion in “Limbo,” his current exhibition here, which includes seven oils on canvas and fifteen small drawings on paper. The latter works, made with ink, oil, and watercolor, depict a variety of scenes, such as rustic peasant gatherings, grave robbers toiling at their macabre industry, and journeymen performing acts of heroism. These monochromatic images, done in an array of cornflower blues, delicate sepias, and misty grays, range in tone from whimsical to melancholic,

print October 2019

“Do You Love Me?”

Elliott Jerome Brown Jr., Kyle Dunn, Martine Gutierrez, Gerald Lovell, Reba Maybury, and Sophia Narrett were the six artists featured in “Do You Love Me?,” a group show that took on a number of subjects, such as intimacy, sexual politics, and the body as a site of wonder and horror—ideas that, thankfully, moved beyond the exhibition’s cheeky title.

Gutierrez explored the transmutability of gender and reality as it pertains to self-presentation. Two groups of seven small-scale, black-and-white photographs, Girl Friends (Rosella & Palama), 2014, and Girl Friends (Anita & Marie), 2014, portrayed

print September 2019

Rasmus Myrup

In Rasmus Myrup’s exhibition “Re-member me,” denuded saplings were installed at the center of the gallery, while others were arranged and fastened to the walls by short lengths of metal. Each tree was adorned with brittle, pressed leaves from a different perennial—beech, maple, rowan—attached to its limbs with adhesive, or dangling from copper wire, as if they were decorations for a mildly festive holiday. One hybrid featured both green and brown leaves, confounding seasonal logic; another bore square-cut bracts. The skeletal copse and its sparse foliage were not dense enough to transform the

picks May 06, 2019

Erin Stafford

By sifting through the wreckage of a vexing breakup, Erin Stafford has created elegiac curios, vignettes, and sculptures that serve as heirlooms and evoke the dread of erasure. With their perishable items, personal mementos, and baroque motifs, the fourteen works in “Lovesick” make up a Havisham-esque mausoleum and attest to the emancipation that mellowed acceptance can bring.

In A Lover’s Picnic Followed by Post-Coital Tristesse, 2019, a richly patterned crimson rug holds silver platters glutted with figs, pomegranates, honey, and pears; an absent couple is evoked through two velvet cushions,

print May 2019

“Tolkien: Maker of Middle-earth”

John Ronald Reuel Tolkien (1892–1973) was born in Bloemfontein, South Africa, to British parents, and from the age of three was raised in Middle England, moving between the industrial city of Birmingham and the surrounding environs of rural Warwickshire. His lifelong interest in Germanic lore and languages—Finnish, Gothic, Old English, Old Norse—was the genesis of his mythological cosmos, Middle-earth, and the staggeringly complex millennia of histories, races (of gods, elves, dwarves, and men), dialects, and crusades that he created. From an encyclopedic “legendarium” of Elvish civilization

print March 2019

Rachel Ostrow

Rachel Ostrow’s oil-on-panel paintings—which feature kaleidoscopic abstract forms nearly engulfed by pitch-black grounds—evoke two of the most mysterious, enthralling regions of human fascination: outer space and the oceanic abyss. Imagination compensates for what we don’t know about these places, and Ostrow utilizes this magical territory to initiate dynamic relationships between gelatinous marine shapes, cosmic nebulae, concertinaed ridges, and the yawning expanses they inhabit. Wonder and terror, magnetism and apprehension: These forces were key to the mesmerizing visual impact of the nineteen

print January 2019

Matthew Leifheit

Fire Island is a sliver of sand, forest, and dunes four miles off the southern shore of Long Island. The hamlets of Cherry Grove and Fire Island Pines have been—since the 1930s and ’50s, respectively—havens of gay emancipation and barometers of American queer experience. The locale has become a near-mythic ark, encompassing wild bacchanal and funereal poignancy for the generations that sought sanctuary within its pelagic atmospherics. It’s this hallowed ground that Matthew Leifheit took as his subject in the forty-three photographic works exhibited here.

Most of his nocturnal tableaux

print November 2018

Gertrude Abercrombie

Gertrude Abercrombie (1909–1977) painted gloomy nightscapes and forlorn domestic scenes that revealed her internal state more than the outside world. She also made portraits, landscapes, and still lifes often influenced by the Midwestern environments of Aledo, Illinois, where she spent much of her childhood. The seventy works in this show, made between 1930 and 1971—dolorous vignettes in hushed blues, greens, and shadowy grays—utterly beguiled.

Abercrombie moved to Chicago with her parents in 1916 and lived there until the end of her life. She was primarily self-taught, although she

picks March 09, 2018

Amy Talluto

Opting to paint complex landscapes almost exclusively in one color could make for undistinguished results, but in the ten oils here, Amy Talluto has produced symphonic arrangements of green, ranging from deepest phthalo to honeyed laurel. Dashes of pink, crimson, and yellow also crop up, to shimmering effect. The technical proficiency of her sumptuous compositions, based on forests around the artist’s Catskills home, parlays them into sites of ethereality.

In Measured and Divided, 2017, several dark trunks dissect the foreground, framing a nearby clearing. A haze of impenetrable celadon foliage

Darren Jones