Claude Viallat

Jonathan Stephenson at Two Coats notes that Claude’s latest work, in a quietly radiant show at Ceysson & Bénétière on the Upper East Side, which is full of colorful patterns resembling camouflage on fragments of military tarpaulins, suggests that while society might try to hide war in plain sight, it cycles through civic life and demands attention on a generational basis.


Beverly Buchanan

Dead Lecturer / distant relative: Notes from the Woodshed, 1950-1980 focuses on works by Asian American and African American artists whose approaches to abstraction provided alternatives to prevailing vocabularies for representation and resistance during the social movements of the 1960s and 70s, and for whom the parameters of visibility continue to remain a problem for thought today. Beverly is one of the selected creatives (also including Howardena and Al). Her work mined a strong motif for decades and slowly became more abstracted although never was true “abstraction.” Readers of who like below should also explore Jennifer and Nicky.



Whanki Jim

was a painter and pioneering abstract artist of Korea, born in the village of Eupdong-ri on the island of Kijwa, of Anjwa-myeon, Sinan County, South Jeolla Province in Korea under Japanese rule. He belongs to the first generation of Korean Abstract artists, mixing oriental concepts and ideals with abstraction. With refined and moderated formative expression based on Korean Lyricism, he created his characteristic art world. His artworks largely dealt with diverse hues and patterns.


Natvar Bhavsar

Aicon recently presented Natvar Bhavsar Part III, a solo exhibition of early works by the eponymous seasoned New York artist. The show marks the third chapter in the ongoing story of Bhavsar being told at the gallery. It picks up two years after the previous exhibition, Sublime Light, and includes fourteen paintings created between 1987 and 2005.


Rochelle Feinstein

Artforum notes Whitney Claflin and Rochelle’s enduring engagement—personal and political, abstract and hyper-specific—with living in America. (Further) Feinstein stitched worming lines of hand-dyed, rainbow yarn into a group of drop cloth paintings that include American Sampler / 2020 (all works 2022), in which she uses the threads to trace the contours of a puzzle of light-washed red and blue state-like shapes. The stops and starts of colorful embroidery are garish and hopeful, like a last-ditch attempt to metaphorically heal the nation.

Jeremy P.H. Morgan

Jeremy’s work has been a form of visual research manifesting through collage and paintings at various scales. The focus of the work has been the fusion of various trajectories; the direct experience of the phenomena of the natural world, e.g. The Romantic Sublime tradition of European and American landscape painting, the Sung Dynasty tradition from China (Shan-Shui) with specific reference to the significance of the manifestation of Spiritual/Philosophical sensibilities as integral and intrinsic to creative visual processes.


Leon Kossof

is one of many British post-war artists Jane Allison included and Hyperallergic reviewed in Postwar Modern: New Art in Britain 1945–1965 at the Barbican. The timeliness of pointing out that absolute atrocity that is humanity’s preoccupation with war and noting the ability to convey the resulting emotions through non-figurative modalities is a good use of words and curatorial energy/attention.

More (like many mid-Century Modernists he did not exclusively practice abstraction).