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The article discusses an exhibition by artist Peter Nadin titled "The Invisible World" at Off Paradise in New York. Nadin, who left the city's art scene to live a more contemplative lifestyle in the Catskill Mountains, continues to paint and experiment with plant grafting. His paintings in this exhibition depict scenes from his rural surroundings, often incorporating elements of magical realism and questioning the nature of reality. The article also mentions Nadin's sculpture, including a bronze shoe with a painted self-portrait and a cast lemon. [Extracted from the article]

The article discusses an exhibition at White Cube in New York featuring the early works of sculptor Richard Hunt. The exhibition focuses on Hunt's output from 1955-1969, a period in which he developed his distinctive style. Despite being celebrated in his lifetime, Hunt's career has been somewhat overlooked, possibly due to his race and his strong ties to Chicago. The exhibition aims to correct this oversight and showcases Hunt's mastery of materials and formal rigor in his sculptures. The article also mentions how Hunt's experiences, such as witnessing the open casket of Emmett Till, influenced his art. Overall, the exhibition provides an opportunity to appreciate the early years of Hunt's career and the talent that he possessed at a young age. [Extracted from the article]

Yoonhee Ryoony Suh's exhibition, "Memory Gap," at the Monira Foundation in Jersey City features works composed on hanji paper, known for its resilience and durability. Suh's labor-intensive process involves scattering natural materials on the paper and creating pigments from organic matter, which she pours over the hanji. The exhibition explores the concept of memory gaps, with each work titled "Memory Gap" and allowing for a range of interpretations. Suh's works highlight the need for connection and the struggle to overcome forgotten moments, with the hanji paper symbolizing a material that retains memories long after they have faded away. [Extracted from the article]

Wood, especially, was a medium of choice for Marisol, but also on view are early sculptures in terracotta, which she experimented with in the 1950s and which drew the attention of Leo Castelli, who gave Marisol her first show in 1957. On View B Montreal Museum Of Fine Arts b I Marisol: A Retrospective i October 7, 2023-January 21, 2024 During her lifetime, the Parisian-born, Venezuelan American artist Marisol (1930-2016) was a bona fide celebrity. Bequest of Marisol, 2016, 2022:13a-b. © Estate of Marisol / Artists Rights Society (ARS), New York. [Extracted from the article]

A work like I Swing i provides a rejoinder to the prescribed line of thinking on di Suvero's work; though it sails upwards, nearly grazing the ceiling, the humane quality of the sculpture is preserved. That so many people who swing in di Suvero's sculpture feel compelled to quickly jump out, a defensive measure against dawning self-consciousness, only underscores what di Suvero seems to be trying to share. "If he could capture the energy of his ideas in a drawing", Morse notes in his exhibition catalogue essay, di Suvero has said that "he could convey that energy in the finished sculpture.". [Extracted from the article]

This all leads to a turn towards pure abstraction, which China achieves in a couple of works in this show. For the past several years, China has locked in on her studio practice, largely trading edifices for canvases. I Girl on the Grass i , a solo show of ten paintings by New York-based artist Angela China arouses a similar, buoyant expectation. [Extracted from the article]

The laborious project involved extreme patience on the part of Barth who, for two days of every month over the course of a year, photographed the same location at the Getty every five minutes from daybreak to dusk. Reverberations of the suggested sundial motif downstairs resonate, perhaps most pointedly in images from a series called "Sundial" (2007-08), where Barth captured sunlight moving across the bare white walls of her own home. Barth's image is nearly empty, the camera's eye trained on the naked wall, with the light fixture hovering off to the left side, one tip partially clipped off by the frame. [Extracted from the article]

I Joshua Tree i (1993), made four years after Purifoy retired to the desert, is one such work. Near the entrance to the gallery hangs one of the largest works on display, I One White Paint Brush and a Pony Tail i (1989), which names only two of the wide variety of items Purifoy pulled together for this grand work. Tilton Gallery, a stately townhouse on the Upper East Side, is perhaps the antithesis of the open wilderness, and the Purifoy sculptures on view are smaller and more contained, but the stories they imply are no less alluring. [Extracted from the article]

The "Notes" are likely so called because Newman made them in preparation for two much-larger etchings he would complete a year later, I Untitled Etching #1 i and I Untitled Etching #2 i (both 1969), and which Brice Marden, more than thirty years Newman's junior, has identified as a profound influence. Similar in construction to Newman's etchings, Marden made a contained abstract drawing at the center or near-center of the page, framed by the white space around it. An attentive viewer will find moments of surprise like these throughout the show as they spend time among these diminutive works by Marden and Newman. [Extracted from the article]

Jahmal's swooping brushstrokes lend an urgency to the painting, conjuring a feeling of swift movement across the canvas. In warm, earthen reds and oranges, Jahmal renders three trees, and gives them center stage. These anthropomorphized trees are just one of the sibylline symbols that populate the canvases of Jahmal's arresting new body of work, now up in I Mining i , his first solo exhibition at Anton Kern Gallery. [Extracted from the article]

And by exalting them in his paintings, Pearlstein acknowledges the powerful effects a collection can have, and the balm it can elicit in difficult or sorrowful times - times like our pandemic age, when we're too often cut off from people and experiences we cherish. These accumulations of a lifetime became the subjects of the watercolor paintings now on view in I I Love Mud i , Pearlstein's current exhibition at Betty Cuningham Gallery. [Extracted from the article]

Nearly all the works at Kasmin were made over the past year, when Banisadr, like most of us, was living under lockdown due to the COVID-19 pandemic. In taking bits from across time and genre and processing them through his own synesthetic technique, Banisadr ultimately shucks convention, rendering paintings that are entirely new. An array of ghostly figures whorl across the two-paneled work (Banisadr's first diptych in six years), befogged presences that nonetheless orchestrate a brisk, definitive energy that anchors the painting. [Extracted from the article]

PHOTO (COLOR): Gerhard Richter, Abstract Painting, 2016. Comprised of four paintings that are based on four clandestine photographs taken at the notorious Nazi death camp in 1944 by Jewish prisoners who were forced to dispose of the dead bodies of their brethren, the project also includes four segmented digital copies of the paintings. In this exhibition hangs one of his early paintings, I Uncle Rudi i (1965) an oil-based on a black-and-white photograph of Richter's uncle, dressed proudly in his Nazi soldier's uniform. [Extracted from the article]

In this article, the author criticises the U.S. presidential election of 2016 and state the criticism as civility. It mentions the working of art writers regarding specialized knowledge through morass of information. It also mentions that compassion and grace are being filtered from culture and needs revision for its development.

The article reviews the exhibition of artist Caitlin Keogh at the Bortolami from September 8 to October 29, 2016.

The article reviews an exhibition "Counterclockwise" held at Pace art gallery in New York city from February 26-April 23, 2016 featuring sculptures by artist Tim Hawkinson.

The article reviews "White Shoes," a photography exhibition showcasing the works of photographer Nona Faustine at Smack Mellon Gallery in Brooklyn, New York City, from January 9-February 21, 2016.

The article reviews an exhibition by artist Ralph Eugene Meatyard at DC Moore Gallery in New York City from November 19 to December 23, 2015.

The article reviews the exhibition "Angel Otero: New Paintings" at the Lehmann Maupin gallery in New York City from November 7, 2015 to January 3, 2016.

The article reviews the exhibition "Red Yellow Blue," featuring the works of American photographer and painter Chuck Close at Pace Gallery in New York City on September 11 to October 17, 2015.

The article reviews the art exhibition "Rodríguez Calero: Urban Martyrs and Latter Day Santos" at El Museo del Barrio in New York City from July 22 to December 19, 2015.

The article talks about the octogenarian artist, Emily Mason who is influenced by Mahmoud Darwish, she is an artist and has also been making prints since the late 1980s which are on display at Russell Janis in Williamsburg.

The article reviews the exhibition "Bill Lynch," featuring the paintings of Bill Lynch at White Columns in New York City from September 12-October 25, 2014.

The article reviews a photography exhibition featuring works by artist Larry Clark, on view at the Luhring Augustine Gallery in New York from June 7 to August 1, 2014.