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Report from the Front

Art criticism, sometimes with context, occasional politics. New shows: "events;" how to support the online edition: "works."



Francine Tint, Wonky, 2012. Acrylic on canvas, 46 x 210 inches.
As March is National Women’s History Month, I cite the fine examples of 1) Louise P. Sloane, whose medium-sized & colorful, rigidly geometric abstract paintings grace the Two E Lounge in the stately Pierre Hotel (through May 31); 2) Arleen Joseph, whose modestly-scaled & colorful, gestural abstract paintings are ensconced in the busy Weill-Cornell Medical Associates clinic on West 72nd Street (through April 24), and 3) most of all, Francine Tint, who has gambled on Cavalier, a somewhat atypical gallery relatively new to the Big Apple, to present her classic yet audacious & brilliantly-hued abstract paintings in “Explorations by Francine Tint,” inhabiting Cavalier’s 4th Floor space at 3 West 57th Street (through March 24). Already, “Explorations” has garnered three enthusiastic reviews – this one is merely the fourth. Read More 
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Peter Plagens, A Literary Sensibility, 2017. Mixed media on canvas, 72 x 66 inches. Courtesy Nancy Hoffman Gallery, New York.
Early March is a time of madness in Manhattan, with art fairs proliferating like rabbits. This year, the granddaddy of them all, “The Art Show,” as mounted in the Park Avenue Armory by the Art Dealers’ Association of America, staged its event the week before everybody else. I went, and will report on it. However, I also saw three Chelsea gallery shows closing this weekend (on March 10) – at Berry Campbell, on John Opper; at Luhring Augustine, on late medieval/early Renaissance paintings and sculpture; and at Nancy Hoffman, on Peter Plagens. Read More 
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