Jason Andrew at Two Coats has words about ‘Wild Birds,” Emily’s second solo exhibition at Freight+Volume, in which she provides an unbridled experience of color and tactility.
#emilynoellelambert

like Young gets a nod from Two Coats for was un bleit at Bortolami in their recent exhibition guide. Materially symphonic, Kara employs painting, installation, and photography to map heritage, origin, and belonging.
#melikekara

gets a nod from Two Coats of Paint for below (which is in Nobody’s Star at Chart) in their January NYC gallery guide.
#youngdojeong

Erik La Prade at WhiteHot had thoughts about Bob’s improvisational artworks, which are variations on a theme, in the context of the (posthumous) recent rerelease of his first solo album A Complete Unknown.
#bobneuwirth

newest- Petal Storm Memory (curated by David A. Ross) at Kino Saito gets a nod in Two Coats December NY gallery guide.
#chiefueki

Liza Roberts recently wrote (in Walter) about this Clemmons-based painter returned to his craft after a 30-year career in advertising.
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#frankcampion

Hyperallergic brings our attention to the Mulvane Art Museum in Topeka, Kansas, and “Women of Abstract Expressionism” as well as Rita’s practice and life (in the show paintings and drawings by Rita are featured alongside works by Elaine de Kooning, Helen Frankenthaler, Lee Krasner, and Joan Mitchell).
#ritablitt

For Burnaway’s series CRUSH, Michelle Santiago Cortés details the dance-drawings and improvisational mark-making of Awilda Sterling-Duprey. Throughout her decades-long career, Sterling-Duprey has paid close attention to how movement appears in painting and how dance lends itself to its own kind of painterly gesture. She has distilled elements of both disciplines to their constituent parts, which can be broken down into kinds of information: visual, spatial, tactile, sonic, and so on.
#awildasterlingduprey

Michael Brennan at Two Coats gave Martha a lot of words in his Letter from Venice Biennale. Click on the links and read the whole thing (Jeffrey and Willem get mentions). Jungwirth (b. 1940, Vienna) has likened her artworks to a diary that traces her physical engagement with the creative process. She sees her drawings and paintings as dynamic extensions of herself, where intelligent structures of lines and blotches emerge, propelled by her emotions and movements.
#marthajungwirth
