Viewed through a rain-splattered windshield, the road ahead is swallowed by the dark woods that surround it. The trees’ twiggy crowns reach upward, precisely focused when they’re not visually smudged by the damp glass.
Todd Hido
by: Patricia Albers
Reviews
The Wyeths: Three Generations
by: Larissa Archer
“The Wyeths: Three Generations” presents the work of five artists, all members of a single family. Examining the works reveals that one of the great family names in American art and illustration were wielded to support overly mawkish myth making.
Cynthia McIntosh
by: DeWitt Cheng
There is a definite family resemblance shared by the porcelain with underglaze ceramic figures of Cynthia McIntosh’s “Turn the Party.” The title is a nod to Miss Amini’s booty-shaker, “Turn the Party Up,” indicative of the high-spirited humor in these caricaturized busts.
Matisse’s “Femme au chapeau”:
by: John Seed
A portrait of Matisse’s devoted wife Amélie, a milliner who wears a hat of her own creation, “Femme au chapeau” violated the era’s ideas about the acceptable use of color and the staid conventions of portraiture. In truth, it was only nominally a portrait.
The Etruscans
by: Mark Van Proyen
“The Etruscans” presents ample evidence of highly developed skills in gold, bronze and silversmithing. We also see just how enigmatic ancient Etruscan art is, partly because we still have so much to learn about it.
Foad Satterfield, Kristine Taylor and Federico Uribe
by: Barbara Morris
Foad Satterfield’s paintings investigate abstract concerns; Federico Uribe creates playful animal sculptures from recycled materials; and Kristine Taylor uses traditional bronze casting to interpret jungle animals and raptors.
Nicole White
by: Caroline Picard
Nicole White’s exhibition of photographs, “An Unending Path,” appropriately begins with “View,” a soft-filtered image of a window frame with a small, framed photograph, captured through a secondary gridded window, itself yellowed and scratched with time.
Andrew Catanese
by: Renny Pritikin
Andrew Catanese’s paintings are dense and heavily impastoed. The painterly abstraction dominates, relieved by episodes of representation or,alternatively, the abstract brushwork accumulates into becoming a landscape.
“We’re a Mystery Which Will Never Happen Again”
by: Gabrielle Selz
“We’re a Mystery Which Will Never Happen Again” takes its title from one of e.e. cummings short, intimate poems that is a love poem, but it is also a meditation on time, on the impossibility of repetition, on the singularity of every encounter.
Maren Hassinger
by: Emily Davis Adams
Maren Hassinger’s practice has reflected many trends in the art world over the course of her 55-year career, notably including the Black Arts Movement, earthworks, Conceptualism, and video art.