Press

Essay by Jonathan Lee to coincide with Kathryn Lynch's exhibition, A Silent Language.

"Lynch is a self-described simplist. She seems more interested in light and dark than in a broad bustle of color, and she is drawn to unfussy subjects: flowers, the sea, the slur of Manhattan traffic; simple pleasures and textures. Her often-flat forms and rounded edges give much of her work a storybook quality."

Gallery artist Deborah Dancy reviewed on The Drawing Center's column, "Annotations."

"Though painted with incredible detail and realistic in approach to rendering the natural landscape, Wagstaff ’s untouched places are imbued with soft light and washes of color that create environments at once peaceful and otherworldly, somehow unreal."

"Armed with an antique camera, photographer John Huggins illustrates modern-day skiing— but with a historic and timeless touch."

Macie Sears featured in Westside Magazine.

"Macie Sears' passion for art infuses her family life with color, composition and inspiration.  Beauty is on the walls, in the garden and throughout their day-to-day lives."

Jane Rosen featured in 7x7 Magazine's The Artist's Stuido; Six world- class artists open their Bay Area studios.

"On a Tuesday morning in September, I met with sculptor and photographer Susan Graham at Lux Art Institute in Encinitas, California. Graham was more than halfway through her five-week artist residency and opened her studio to me, allowing an up-close view of her sugar and porcelain sculptures in the process of assembly. Graham shared stories from her childhood in Ohio, articulated her thoughts about working, and touched on how September 11 has altered the view of some of her earlier art."

"New York-based artist Susan Graham completed her residency at the Lux Art Institute on Saturday. In addition to a dozen works on display, she’s leaving behind an elegant, exquisite “Toile Landscape Wallpaper” that she created at Lux. Her work, including her undeniably fascinating “My Dad’s Gun Collection,” will be on view at Lux through Oct. 27."

"Fran O’Neill’s fine show at the Studio School demonstrates how the practice of gestural abstraction can remain very much alive in the hands of someone willing to explore and experiment. While Louise Fishman’s accomplished, historically aware exhibition at Cheim & Read shows us a mature artist committed to the lexicon of the New York School, in O’Neill’s paintings we see the pursuit of an originality that really pushes forward the vocabulary of abstract art. Her backwards glance toward the legacy of mid-20th century painting is transformed into a forward leap into the unknown—in the sense that the paintings do not appear to refer to actual things and that the artist is genuinely trying out a language of her own. Building a new vernacular in abstract art is a trying task, especially if the artist knows the history of the genre. In O’Neill there is both a sense of the past and an independence from that past."