Paula Marincola

  • “1967: At the Crossroads”

    “1967: At the Crossroads” was an unusual survey that offered a serious appraisal of the ’60s through a cross section of what its curator, Janet Kardon, considers a pivotal year within a revolutionary ten-year span. The works of 36 artists—all begun, first exhibited, or completed in 1967—were gathered together to evoke the zeitgeist of 20 years ago. Together, they represented Minimalism, post-Minimalism, Conceptualism, Pop, Color Field, and earthworks, all at different points of influence and development. Also included were some amusing and pertinent objects that threw the artworks into broader

  • Jack Tworkov

    Jack Tworkov’s is an exemplary body of work, the product of a lifelong devotion to painting. This exhibition was the first retrospective to survey Tworkov’s entire career of more than 50 years. It began with Tworkov’s early Cézannesque still lifes and figures, and traced his painstaking, often painful progression toward Abstract Expressionism, and his subsequent dissatisfaction with what he called its “enforced spontaneity”; and it articulated how this led to the development of his mature abstract style, with its signature meld of geometry and gesture.

    Despite his associations with the New York

  • Laurence Bach

    Laurence Bach’s new series of photographs entitled “Nightspells,” 1986, continue his signature style, combining a Constructivist syntax and Surrealist vocabulary within the framework of a lapidary attention to formal description. They were made, as was all his prior work, on the Greek island of Paros where he summers. They employ, too, the familiar lexicon of objects fusing quotidian function and classical allusion—amphorae, marble fragments, broken wineglasses, stones, pottery shards, cutlery, gauzy fabric—and display the compositional legerdemain with which he has constructed his other recent,

  • Georgia Marsh

    Georgia Marsh’s vaporous landscapes want to have it both ways: to embody the tangible atmospherics of real time and place and simultaneously to evoke the evanescent ambiguities of color field painting. The specter of Rothko that hovers in the vicinity of her paintings is thus joined by evocations of certain 19th-century Europeans, for example Caspar David Friedrich and J. M. W. Turner. As she arrived at landscape painting through abstraction, it seems logical that her recent work explores their rapprochement.

    The paintings in this exhibition progressed chronologically from moody night scenes to

  • Phoebe Adams

    Phoebe Adams’ new sculptures, rooted in physiological phenomena, appear by turns anatomical and archaeological, excavated from the earth and summoned from the artist’s subconscious. They evoke a wide range of associations with such organic processes as fossilization and decomposition, and natural forms such as skeletons, ammonites, human organs and bones, crustacean appendages, pods, and cocoons. Undulant bronzes at once awkward and curiously graceful, they spiral, thrust, and uncoil themselves from the walls on which they are hung, sometimes anchored by smoother, more abstract shapes such as