SELECTED PRESS

New York Times, March 7, 2014
Seen in their first solo gallery show, Lauren Silva’s big, boisterous semiabstract canvases exude an impressive confidence...
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Artforum.com CRITICS' PICK, January 2014
In "Eager", [Schulnik's] second solo exhibition at this space, the artist gives us ceramic sculptures, paintings and a breathtaking new stop-motion puppet video that seems extracted from an imagination preoccupied by the numinous characteristics of nature's various cycles, rife with sunshine and scat.
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New York Times, October 25, 2013
...[Christoph] Ruckhäberle is back, with an arresting show that makes us remember what all the fuss was about.
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New York Times, August 8, 2013
He seems to approach photographs as blunt instruments; consequently his show lurches around the social landscape, leavening moments of brutality and ineptitude with glimpses of brilliance.
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New York Times, June 20, 2013
An exceptionally skillful draftsman and cartoonist, [Ladouceur] draws on paper with finely pointed pencils and pens, making comical, metaphorically provocative images in which goofy avatars are absorbed into the bewildering flux of psychic experience.
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Art in America, June 27, 2013
While Hompson's approach to painting served as a synthesis of modernist and postmodernist ideas, it also, particularly as it evolved, embodied the same values of immediacy that were seen in his text works.
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New York Times, February 14, 2013
A Fluxus text and mail artist turned abstract painter, Davi Det Hompson...hasn't enjoyed the posthumous renown of contemporaries like George Maciunas and Ray Johnson. This mini-retrospective, organized by Dakin Hart with the help of the artist's estate and his widow, Nancy Thompson, should change that.
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Time Out New York, December, 2012
Brinkerhoff pays homage to such modernist masters as Picasso, Gorky and Dubuffet, while experimenting with an array of drawing and painting materials and collage techniques. The result is a hybrid that's as inventive as it is recognizable-a winning combination that stops viewers dead in their tracks.
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Time Out New York, January, 2013
[Nichols'] whimsical paintings, drawings, sculptures and installations are informed by a use of found objects, a love of nature and an appreciation for visual opportunities that others might miss.
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New York Observer, October 8, 2012
A series of rooms house empty mailboxes, tables bearing blocks of sand and a black painting with a white grid. Mr. Lusk's work charts post-minimalist art's uncomfortable connection to architectural, even societal, decay...These are potent signifiers: it is a very American dissaster that looms.
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New York Times, May 25, 2012
Chuck Webster's new panel paintings, seen in his sixth solo exhibition at this gallery, are the best of his career.
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New York Observer, May 1, 2012
At ZieherSmith, Chuck Webster’s suite of new paintings uses a similar trick to very different, though equally appealing, effect. Seven oils on panel, all in the same stolidly proportioned rectangle but ranging in size from letter paper to billboard, combine striking, graffiti-bright colors, a bold, Haring-like line, and unvarnished surfaces sanded down flatter than a slate sidewalk to portray variations on a kind of toothy step-pyramid figure..
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The New Yorker, January 30, 2012
One of the pleasures of flea-market photographs is their incidental affinity to canonical work. This selection of sixty-five small prints from the collection of the artist Jason Brinkerhoff includes several that recall the skewed perspective of the Bauhaus and others that might bring to mind Harry Callahan, Paul Outerbridge, and Lee Friedlander..
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The Wall Street Journal, January 28, 2012
The 65 found photographs at ZieherSmith were culled from nearly 2,000 assembled by Jason Brinkerhoff and, although presumably all were taken by amateurs, they sometimes exhibit effects professionals would find difficult to duplicate.
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The New York Times, December 15, 2011
Animators are sorcerers. As Allison Schulnik demonstrates in her wonderful stop-action video “Mound,” the thrill of old-fashioned animation — unlike purely digital animation — is in the apparently supernatural quickening of ordinarily inert stuff.
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The New Yorker, November 2011
Echoing through Schulnik’s début at the gallery is Scott Walker’s 1969 ballad “It’s Raining Today,” which provides the swooning soundtrack for her sixth video, “Mound.”.
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Nashville Arts Magazine, July 2011
ZieherSmith a top emerging art gallery based in the Chelsea neighborhood of Manhattan, will open up a "pop-up" gallery in Nashville.
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Art in America, June/July 2011
"Chuck Webster's title for his third solo exhibition at ZieherSmith, "My Small Adventures," suits the show perfectly. These paintings are as bouyant as they are disconcerting...experiencing them collectively is like being bombarded with coded messages from some surreal netherworld."
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The Wall Street Journal, March 5-6, 2011
"The 17 abstract paintings here, all from 2010 or 2011, are burnished to porcelain luster. Goofy and enigmatic—loose amalgamations among architecture, landscapes, animals, vessels, logos and eddies—they tease and beguile."
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The Brooklyn Rail, March 5, 2011
"[Webster’s] synthesis of the cheerful and the creepy, the inviting and the off-putting...connect a palpable, unnamable thing that is simultaneously complete and largely disconnected to a destabilized and free-floating mental space."
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The Daily Beast, February 2, 2011
"A wonderful exhibition of experimental text-based work from the ’60s and ’70s called Sculpture in So Many Words, is open now at ZieherSmith Gallery in New York."
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ARTINFO, January 26-February 1, 2011
"Go see "Sculpture in So Many Words" at ZieherSmith and spend an utterly engrossing hour or so doing something you don't ordinarily do at a gallery — reading."
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Culture Catch, December 5, 2010
"...Liz Markus, as witnessed by her solo exhibition "Are You Punk or New Wave?" at Zieher Smith hasn't forgotten..."
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Flavorwire, December 2, 2010
"...Eddie Martinez' graffiti-inspired, expressionist triptych that filled the whole ..."
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ARTINFO, December 3, 2010
"Eddie Martinez's exuberant and enormous booth-filling mural helped make up for the relative dearth of painting at the fair this year."
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New York Times, August 20, 2010
"Rachel Owens's Privet, a tall, Hamptons-style hedge,
is ... a much-needed physical diversion from all the cerebral, time-based work."
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Artforum.com, June 2010
"Nichols’s urban-meets-rural spin keeps things both fresh and grounded."
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Time Out New York, June 2010
"Best In Installation: Tucker Nichols."
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New York Times, June 11, 2010
"Nichols possesses a deft eye for curious asymmetries.... The show feels like a vibrant map of the artist’s pocket."
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New York Times, February 11, 2010
"Eddie Martinez...has exceptional gifts as a painter and draftsman, which he exuberantly combines."
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ARTnews, February 2010
"Creating work that might go unnoticed is one of [Tucker] Nichols’s hallmarks."
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Time Out New York, February 4-10, 2010
"Eddie Martinez’s paintings, drawings and etchings have a kitchen-sink quality to them: The painter seems to unload his full arsenal of skills, as well as the contents of his brain, onto every one."
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Homo-Neurotic.com, January 26, 2010
"Tucked near the end of Band of Bikers, a series of found photographs pocketed by Scott Zieher from the estate of an unknown fellow tenant and now published by Powerhouse Books, a merry biker poses for a triptych of glamour shots sporting boots, a cod piece, and a beer can."
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The New York Optimist, January 2010
"This euphoria and delight started immediately at ZieherSmith with Eddie Martinez’s large canvases. In a very coherent, fluid and smooth, if not frantic and immediate style, Martinez paints figures and situations with the freedom of a child’s imagination."
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The New Yorker, December 14, 2009
"Punk rock, anthropology, and art collide in the British artist’s New York début, a two-channel film titled “These Are the Days” that documents the underground music scene in Austin, Texas."
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Dazed and Confused, November 2009
"Poet and gallerist Scott Zieher sparked our imaginations with his awesome found photographs of a band of gay bikers frolicking in the woods in 60s and 70s America. In the following story, he guesses what might have been."
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Map Magazine, Winter 2009/2010
"The dramatic irony that mounts both throughout ‘After School Special’, and Sworn’s practice more generally, is that her portraits of youthful consciousness are always presented in retrograde."
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Canadian Art, Fall 2009
"Sworn’s work brings to the fore the sense of atmosphere, a fiction that surrounds you. Her delicate depictions of children scaling futuristic-looking forms are a perfect case in point."
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Bon International, Fall 2009
"The amazing Matt Stokes has created a limited edition print from his these are the days project, especially for 50 lucky Bon readers. Our Arts Editor talks him through the hows and whys."
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New York Magazine, October 2009
"Inaugurating its huge ground-floor space, ZieherSmith kicked off the season with a big group show celebrating its roster."
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Sculpture, October 2009
"In his recent show, Mike Womack further explored the low-tech magic behind his inspired, idiosyncratic perception devices."
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Art + Auction, June 2009
"A drawing by ZieherSmith artist Tucker Nichols proclaims 'Business Is Great'."
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Art In America, June/July, 2009
"In “High Grade Empty,” his second solo exhibition at ZieherSmith, Mike Womack mined the tension between images and their material delivery."
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The Moment Blog - nytimes.com, May 12, 2009
"The Insider profiles emerging tastemakers in the fields of fashion, design, food, travel and the arts. Here, the artist Wes Lang shares his essentials."
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The Austin Chronicle, March 20, 2009
"The scream is still here, is always here. Not for nothing did Matt Stokes want us to know these are the days."
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The Brooklyn Rail, March 2009
"Womack’s exploration of materials and his idealist take on technology comprise a nostalgic nod to past movements such as Constructivism and Futurism, which flourished at a time when technology and art were allies, not enemies."
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Interview Magazine, December 2008
"In Wes Lang’s meticulous pencil drawings, America is a land of whiskey and country music, pinup girls and Walt Whitman."
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Interview Magazine, December 2008
"Eddie Martinez is indomitable."
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The Brooklyn Rail, December 2008
"Webster has made a reputation for painting and drawing eccentric, often biomorphic abstractions on paper or panel with an endearing informality."
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Frieze, November/December, 2008
"Behind it all, though, was [Corin Sworn's] desire to source a tradition and construct an argument for the continuing social power of art and to do so in a way that felt new yet also old, weighted, enduring."
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The New Yorker, November 10, 2008
"There’s an undeniable sweetness to Owens’s work, even when she tackles earnestly political subjects."
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Book By Its Cover, May 15, 2008
"This book is co-published by [PictureBox] and the gallery that represents both the artists featured, Eddie Martinez and Chuck Webster. This book is actually two separate hardcover books for each artist held together with a band of paper. "
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Art in America, April 2008
"Javier Piñón’s collages of cowboys in desert settings address the appeal of the Western frontier and its underlying myth of America’s power."
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Art in America, March 2008
"In both his drawings and photographs, Nichols shows us the fundamental joys of mark-making, and an abiding sense of intimacy. But the text works, like the photographs, hint at an external world beyond the gallery."
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The New Yorker, February 20, 2008
"this small and lovely exhibition showcases visual art by bards."
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Art Review, February 2008
"JAVIER PINON, in contrast, seems to have managed to keep that icon from devolving into a punchline or a photo-op, but that is because Piñón has never thought of the character of the cowboy strictly within the vernacular of the American West."
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The Brooklyn Rail, October 2007
"Chuck Webster’s most recent thicket of images triggers a response from somewhere between the senses, a place where the eye’s ear is activated through optically tympanic vibrations."
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Art Papers, May/June 2007
"Chuck Webster’s painted world is slightly askew, buttressed by a forest of drawings that emerge, twenty to thirty at a time, when he starts his daily work routine."
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Artforum, May 2007
"[Stokes's] film (presumably named after Jimmy Radcliffe’s soulful version of the Burt Bacharach song) is antididactic, an object lesson in the pure scopophilic joy of watching people dance."
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Time Out New York, March 22-28, 2007
"It’s easy to see why Long After Tonight, Matt Stokes’s film about music lovers in dervishlike ecstasy, won Britain’s top prize for emerging artists, the Beck’s Futures award, in 2006. The piece is stunning."
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New Yorker, January 15, 2007
"From the front, Womack’s ingenious construction looks like one panel of a fabulous disco pyramid, with hundreds of small mirrors glittering in a concentric square pattern."
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Sculpture Magazine, November 2006
"[Mike Womack’s Heat Is Not Made of Tiny Hot Things] is a brilliant composite not only of materials but also of process, and its meaning suggests both high-tech complexity and pain-staking craft. Visually sophisticated, it offers a crowd-pleasing, spectacularly changing view."
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Bon International, Fall 2006
"[Brooklyn] is where three of the city’s most interesting artists of the moment are working. They are Wes Lang, Jules de Balincourt and Eddie Martinez. They are pals who hang out when they are not making art. They also share a whole bunch of aesthetic ideas."
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Art In America, October 2006
"Eddie Martinez's promising solo debut is full of joyous work that creates its own entrancing world."
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Frieze, September 2006
"Stopping by the day before the opening, I found most of the 21 artists looking a bit bleary-eyed but working earnestly at the long tables that ran the length of the gallery. The mood was jovial but also concentrated. There was little horseplay and no spitball fights."
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ArtReview, June 2006
"The repetition of motifs in Martinez’s paintings is not just compulsive, however, nor is it necessarily fantastical. Repetition of this kind is an outward sign of an elaborate ongoing "dialogue" between an external "real" environment and the internal syntax of painting as a genre."
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New York Magazine, May 15, 2006
"The people whose ideas, power, and sheer will are changing New York."
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Art on Paper, March/April 2006
"Combining a fascination with Americana with the aesthetic spareness of Chinese painting and calligraphy, Nichols' most recent work mused on New York City taxicab culture."
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The New York Observer, February 6, 2006
"When notice came of [P.S.1's] The Painted World, an “intergenerational” overview of abstract painting, my curiosity got the better of me.... That, and the fact that the exhibition included canvases by Myron Stout (1908-87), one of my favorite 20th-century American artists, and Chuck Webster, who could turn out to be one of my favorite 21st-century artists."
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Artforum.com, January 2006
"Binghamton, NY–based artist Chuck Webster makes good use of his time. Following hot on the heels of a solo show of paintings held exactly one year ago, his latest exhibition contains an impressive number of drawings."
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Artforum, November 2005
"Children’s playgrounds have long been characterized by a combination of artificial materials, intense colors, and oversize geometric forms, making them natural subjects for an artist interested in the flows of influence among Minimalist sculpture, civic architecture, and social anthropology."
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New York Observer, January 2005
"Mr. Webster's frumpy, emblematic shapes are meticulously limned and sandwiched, often comically, within the parameters of the picture's edge. They're whimsical, not a little pathetic and somewhat melancholic."
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New York Times, October 2004
"With a finely pointed pen in black ink and a meticulous touch, this Vancouver-based artist draws cartoons about a bald, long-nosed, sad-sack of a character called 'Schmo'."
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Artforum, October 2004
"The vapidity of the visual and textual sentiments of readymade greeting cards is hard to top, and their consequent potential as ground for collage is equally hard to resist..."
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New Yorker, July 2004
"Portraits of North American birds, bats, and rodents drawn in ink on brown rag paper. Walker isolates the heads and omits the captions of the field guides, breeding manuals, and scientific texts from which the images were culled."
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New York Times, April 2004
"Mr. Pretorius's comical, vividly illustrative paintings depict allegorically suggestive scenes..."
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New York Observer, August 2003
"...here comes Chuck Webster with his 163 works on paper -- tacked gingerly to the wall and running edge-to-edge around the perimeter of the ZieherSmith Gallery, with a pause provided by 15 framed pieces."
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New York Times, July 2003
"Mr. Webster's playful semiabstract compositions, painted and drawn with brusque immediacy on small, distressed pieces of paper, include mandalas, crystalline fields, frames within frames, circulating sperms..."
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Artforum.com, May 2003
"Javier Piñón grew up in Texas, which may partially account for the cowboy theme in his works. But he's tapping into an iconography that cuts across regional lines."
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Contemporary Magazine, February 2003
"ZieherSmith opened on 15 March with a group exhibition titled Dreamy that showcased the work of 14 artists."
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