Joachim Neugroschel

  • May Stevens

    With the social and political ferment now developing in the art world, political art has acquired a new focus, and for women artists a subjective one. May Stevens, who early in her career painted political attacks on American racism and then abandoned openly political art for a while, has now turned to political satire in her “Big Daddy” series of gouaches, silkscreens, and acrylics. The result is a tough and poignant feminist critique of the patriarchal power structure as allegorized in the recurrent figure of a pompous but sad, dangerously paternalistic figure, usually shown with a porcine

  • Emilio Sanchez

    In Latin American art, Ortega’s concept of dehumanization, originally a complex analysis of modernism, has been rapidly banalized into a deliberate convention, stylized into wistfulness, into similar mood pieces which are weak shadows of the dynamic trends that Ortega was examining. Certain effects have become clichés, say a newspaper blowing across an empty street; in fact, emptiness has been worn down into a visual topos that conveys no new information. Thus, in viewing the Cuban painter Emilio Sanchez, one feels that his painterly competence has been put in the service of a standard formula.

  • Group Show

    The Bykert Gallery opened its season with a small solid Group Show that introduced a few young artists, the most interesting of whom seem to be Joe Zucker and Cecile Abish.

    Zucker offered a single set of ten vertical panels covered over with a colorful figurative mosaic of cotton balls dipped in acrylic and patterned into strong and sharded still lifes. Atomized, the individual plasticity and intense hues of the soft tesserae strain against the figurations while hinting through their placement at outlines and contrasts. The effect is one of vibrant color joy and energetic craftsmanship.

    Abish’s

  • Turku Trajan

    The posthumous show of drawings by Turku Trajan is a tribute to an artist who was half-sanctified into an archetype after his death, when his life was reviewed in terms of a nineteenth-century Parisian bohème of poverty and neglect. Such an attitude unfortunately merely sentimentalizes and idealizes the artist as an elitist requiring special care and attention. It is obvious that the art world is run as a free market economy and that commercial, and thereby further, recognition is largely based on financial considerations, competitive politics, and individualistic exercise of power. To deplore

  • Jim Sullivan

    In Jim Sullivan’s first one-man show at Paley and Lowe, his huge acrylics on unprimed canvas confront the antinomies that were present in his earlier work but, through a process of elimination, achieve a fresh and wholly different thrust. The painting process is lucid and strong, the subtleties and complex relationships gradually unfold. Using sticks of various sizes to apply the colors, Sullivan hints at containing the action within a suggestion of margin (and indeed, his previous works already presented a concern for edges). The colors are usually limited to a triad—such as red, blue, and