Thirteen Ways Of Looking At Sigrid Sarda’s Work

Sigrid Sarda is an artist, living and working in New Paltz, whose work you should get to know.  That’s all. Well, it could be all were it not that I want to say more. Sarda work is in turns gorgeous and morbid, gaze inviting and gaze smacking. The work strikes precisely those fancies that force … Continue reading →

Some Re-Appropriated Thoughts on Regional Art

I recently published a short essay  on the Hudson Valley-centric Chronogram magazine’s blog about whether the expression “regional art” and the rather more pejorative “Regional art” does any helpful work. Some choice bits from the essay and below that, the link to the piece: “Regional art” is attached to parochialism. No, artists in the Hudson … Continue reading →

From Fascist, Progressivist and Liberal Art to Fallibilist Aesthetic Pluralism: Some Notes

Suppose the study of aesthetics is also the study of value. Accept, if you will, that art’s engagement with value lies at the core of High modernism.  That’s a simple one: Duchamp’s work and that of the Futurists makes that rather clear. So, accept that the art-value relationship foregrounds for every epochal turn or stylistic … Continue reading →

Gerardo Castro at Theo Ganz: Sex as Salve

Gerardo Castro’s paintings, diptychs and triptychs, all, on view at the Theo Ganz Studio, are luscious, sensual objects, red, brown, dark, erotic, textual and tactile.  You can read off them as much as you might get when you gaze upon them. I know you’ll want to touch them. Oil paintings on linen and wood that … Continue reading →

Neal Hollinger at KMOCA: Your Own Private Utopia

Neal Hollinger’s one-man show of paintings and neo-reliquaries at the Kingston Museum of Contemporary Art (KMOCA) is titled “Into the Gloam” and the work is just as weirdly, strangely, interestingly, pastoral. I’ve seen the show twice already and could use a third viewing of the work.  But it comes down soon; this weekend coming will … Continue reading →