was a Polish-born American artist whose work, spanning seven decades, is well regarded both in France (where she spent many years) and the United States. Her work lies between figuration and abstraction.
Rebecca at Two Coats has words about a recent, posthumous exhibit of this rarely discussed Modernist.
#janicebiala
Agrade Camiz channels trauma and her youth spent in Rio’s graffiti scene into sensual, urban paintings (she is in Artsy’s Vanguard along with Geoffroy and Sayan).
#agradecamiz
Jasmine Weber at Hyperallergic notes (among other things) that the 83-year-old artist has dubbed her painterly detonations of color, which physically undulate from their surfaces, as “structural abstract expressionism.”
If you like paintings that “hover delicately between figuration and abstraction” check out Mary as well.
#sylviasnowden
still makes luscious paintings (thanks Amanda at Two Coats). I’ve previously blogged about her work and made a Pinterest “gallery” (below is from the #armoryshow in 2020).
I remember that she was having her first good art world moment when I was in undergrad. It’s often weird what sticks in your head but I still remember a cover of Art in America with one of her paintings.
More (Brooklyn Rail 2006)
#karindavie
I have a full-time job in clean energy. In a prior manifestation of this career, I used to travel a lot, many times to Biloxi Mississippi to call on the local utility. I’ve vividly remember the “Hurricane Katrina high watermark” line painted on the wall in the lobby of the Holiday Inn on the waterfront, 400 yards from the ocean that previously had viciously swallowed this small City.
So when I saw that Merin McDivitt had reviewed Molly Sawyer: Through the Light, a material response to the aftermath of Tropical Storm Helene, at the Spartanburg Art Museum, I immediately read it, and so should you
#mollysawyer
Nnena is the 2025 winner of the Turner Prize. She is the first learning-disabled artist to win. Born in Glasgow in 1966 to Nigerian parents, Kalu is known for sculptures resembling cocoon-like forms that she strews with videotape, cellophane, and other unconventional materials.
#nnenakalu
Artsy recently asked Jeffrey Gibson to list 10 Native American artists to watch. employs acrylic polymer, reindeer hair, acid-free Mylar, nylon thread, and steel pins to evoke animal skin and guts.
He also mentions Caroline and Teresa.
#sonyakellihercombs
Jonathan Stevenson discusses Stephanie’s “coolly seductive” paintings on display at Kevin Kavanagh Gallery in Dublin. Below is one of many titled “Emotional Calculus” like the show itself. He notes that, in “due course, the paintings reveal deeper intent, which is to complicate and enrich your ultimate apprehension of the presumptively simple life.”
#stephaniedeady
Lawre Stone shouts out Meg’s newest noting they make enormity relatable.
This blog also represents a change for me. I posted about Meg once already in 2019 noting at the time the work was “one of the most interesting takes on the question of what is painting I’ve seen recently”- this is her IG post to which I linked. Prior to, well, today, I’ve typically avoided writing about an artist more than once, as a big part of this practice for me has been discovering new work or researching the canon. And, I have realized that keeping this catalog fresh is a legitimate way to pay respect to creatives that are working to stay relevant, so this will probably not be the last time I revisit a painter or other creative.
#meglipke
Local (to the Triangle!) writer Colony Little calls our attention to Uman’s kaleidoscopic journeys. Their journey spans from Somalia to New York (and soon the south of France); this self-taught artist transforms migration, memory, and emotion into vibrant worlds of movement and hue.
More and more
#uman
Heemin Chung investigates the material potential of digital images as she translates them into the mediums of painting and sculpture. Her work investigates how technology shapes contemporary perception and impacts our existential conditions. She is represented by Thaddaeus Ropac.
More
#heeminchung
Michael Brennan notes in Two Coats concurrent exhibitions up now – one at Mario Diacono Gallery in Boston, the other at Ghostmachine in New York – of Jodie Manasevit’s “fine, fierce paintings,” paying particular attention to the environments in which curator David Dixon sites them.
More
#jodiemanasevit
Painting After Art is Dead 