Works by New York/Alaska-based Sienna Shields, and C. Finley of New York and Rome, are rich with texture and color. Chock-full of compiled items, Shields’s collage paintings and Finley’s mixed media mandala are comprised of layered materials that cohere together to produce whole works. These artworks are neither overwhelming nor disorganized—rather they are visually diverse,…

Suzanne Joelson’s assemblage of paintings titled Rhymes with Orange is a kind of visual meditation on the color orange. But just as “nothing rhymes with orange,” the paintings that comprise it live in conversation with one another, a kind of slant-rhyme that bounces meaning and formal devices from one panel to the next, throwing them…

Light        dark be             be gets           gets light          dark   —Robert Lax, Light, 1984   Stephen Antonakos worked endlessly with neon, collage, sculpture, and drawing to explore the gaps between perceiving and knowing, space and the ways to delineate…

Margrit Lewczuk’s bright paintings titled Connie’s Drum and Green & Purple were installed facing her husband Bill Jensen’s intense diptych Passions According to Andrei (Rublev/Tarkovsky). The adjoining wall was hung with a cluster of eleven of Lewczuk’s smaller paintings, drawings and collages interspersed with eight of Jensen’s brush drawings in black ink. Where Jensen’s work…

People say “once an adult, twice a child” as a pejorative for aging but Jonas Mekas has always possessed a child-like curiosity that has propelled his remarkable approach to filmmaking. Mekas is now 91 but in his nearly seven decades of making films, photos, collages, and performances, the artist never succumbed to the deadening of…

The Triptych is a cosmology. In spite of its name and the fact that it consists of three conjoined sections, each created by applying cut-outs and painted images onto both sides of 58 successive layers of thick glass pressed together, its basic structure is defined by its recto and verso, the latter of which depicts…

From a semi-transparent sail-like amalgamation, a central bamboo mast rises almost seven feet, pulling its wire skin to a peak as it ascends toward the ceiling. Its upward reach carefully countered by the object’s mass and the implied movement of the four red, rubber wheels that form its base—this behemoth is built to move. Between…

Elves? Sprites? Muscular fairies? Outcast female deities from a far off land? Naked and vulnerable with breasts exposed, they tumble through space like whirligigs set loose on a stormy day. One lies on the ground, back arched, beckoning to the various limbs that are sticking out of green bushes or maybe those are mutant fruits…

While the titles of Chris Martin’s “Red, Yellow, Green” #1 and #2 seem to be an acknowledgement of—or maybe homage to—Mark Rothko’s famous masterpieces, the paintings themselves resemble a combination of outsider art and Abstract Expressionism. Born in 1954 in Washington, D.C., Martin has also lived for long periods in the Catskills and has been…