Horton Gallery, with its evocatively titled two-person show Evil Dead 2, pays homage to Romero’s glorious second stab by exploring expansive and ever-mutable revision.  The setup seems sitcom-like; two artists and friends from Brooklyn display their process-heavy paintings shoulder to shoulder in a kind of Oscar/Felix cohabitation.  Matt Jones is deep and celestial (the messy one), while gallery-mate Kadar Brock aims towards a final[.....]

There are numerous contemporary works in which the artists’ choice of physical ‘matter’ contains within it their intended meaning. Xu Bing’s poignant ‘Where the Dust Itself Collects’ made from dust collected in the streets of Manhattan after the destruction of the twin towers falls into this category, as does Marc Quinn’s self-portrait made of 9 pints of the artist’s own frozen blood. Sydney artist Shoufay Derz[.....]

The Pace Gallery and Pace/MacGill Gallery debut Paul Graham: The Present with a striking selection of sixteen diptychs and two triptychs. This series concludes a trilogy with the series a shimmer of possibility (2004–2006) and American Night (1998–2002), both of which showed in numerous institutions and galleries internationally. Alongside the exhibition of The Present, Graham has published a 114-page monograph with London-based MACK, which will[.....]

One of the most informative moments in SPACES, the latest exhibition at the Contemporary Arts Center in New Orleans, is a timeline of the birth of the St. Claude art scene handwritten in black charcoal pencil on the wall. Born out of the reinvigoration of community action in post-Katrina New Orleans, bolstered by the adrenaline shot of Prospect.1, hard working artist collectives popped up across the city[.....]

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Do you remember track star Gail Devers, with her absurdly long nails? I noticed her for the first time in Atlanta, on television during the 1996 Olympics, where she one her third gold. Then, her nails were painted gold to match the medal she had yet to win. Eight years later, in[.....]

The beginning of March sees New York erupt in an art world flurry with the 75th Whitney Biennial igniting the itinerary for the next couple months of art fairs, large-scale exhibitions, auctions, and not least of all, the parties that accompany such events. Presented by Elisabeth Sussman and Jay Sanders, who formed a fortuitous curatorial duo, the 2012 Biennial shone brighter than the previous Biennial[.....]

The difficulty in viewing photographs of artwork is that the camera flattens the object in its focus, relinquishing subtleties in order to capture a whole. Because his oeuvre is very subtle indeed, Mark Bradford’s work requires a viewer’s presence to be fully appreciated. Very little of the slender lines of collage, delicate papers built up in thin layers or washes of paint almost completely sanded[.....]