• Elizabeth Newman

    Galerie Lelong & Co.

    Elizabeth Newman’s first New York show includes a number of sculptures—household objects, such as furniture, clothing, and utensils, that have been transformed into synesthetic fetishes by the addition of materials like wax, feathers, and talcum powder—that were part of the artist’s installation at the 1991 Spoleto Festival U.S.A., in Charleston, South Carolina. There they worked effectively to reanimate the history of an 18th-century home, and, although a gallery setting inevitably pales by comparison, Newman’s alchemy remains as potent as ever, transforming a normally sterile place into hallowed

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  • Phyllis Bramson

    Dart Gallery

    Phyllis Bramson’s recent paintings are impetuous and risky, willfully skirting the edge of visual glut. Her allegorical images hover between the personal or diaristic and the social or public—between expressive and communicative imagery. Her work is driven by her consciousness of the halting and inchoate nature of figural language. There is frenzy and fury in this dilemma; in titling her exhibition “Vicissitude,” Bramson acknowledges the swirling ambiguities of her problematic.

    The six large paintings dominating this show use identical sizes and formats but still manage to provide a plethora of

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  • David Lefkowitz


    David Lefkowitz did most of the paintings in this exhibition while he was teaching art at Carleton College in Northfield, Minnesota. His experiences there suggested an episode of the television sitcom Northern Exposure: a hip young professional dropped into a small town to inform and, more significantly, be informed by the context he encounters. Lefkowitz has a rapier sharp wit and a febrile mind that incessantly probes the situations surrounding him. Though he is a painter, his restlessness has regularly led him to violate the traditional parameters of easel painting; it is typical of him, for

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