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Gael Stack is the first retrospective monograph on the artist's career, which has spanned four decades...

Todd Chilton’s Pink and Green Combs, 2011 focuses on the edge as both a systematic and unifying element, as well as a divider. Perfectly interlaced, the woven strokes of paint optically create a tunnel, using pure color as a tool to create depth and exposing its illusion by the strict and traceable pattern of the brush to the surface... 

In his brief introduction to this buoyant show of abstract paintings, Feature’s director, the single-named Hudson, writes that he finds an essential magic in “how the artist leaks the personal into the formal...”

Adelman follows the tradition of rule-based art, with systems derived from mathematics, logic, personal, and/or consequential rules. So disciplined is this work that it could be mistaken as computer generated but don’t be fooled, this is where John Adelman’s brilliance lies.

John Adelman’s work continues to follow traditions of rule-based art, with systems derived from mathematics, logic, personal, and/or consequential rules set by the artist.

Holly Johnson Gallery is pleased to announce the opening of Nymphaeum by Kim Squaglia...

Holly Johnson Gallery is pleased to announce the openingh of David Row - Flat Volumes, an exhibition of recent paintings...

It's at L.A. Louver that Allen now is showing the latest, fully developed version of "Ghost Ship Rodez: The Momo Chronicles," the project about the French playwright and theater revolutionary Artaud that so impressed Byrne three years ago.

Published by Radius Books.

Hardcover, 14.625 x 11.5 inches, 144 pages, 50 color illustrations.

James Drake’s career has spanned more than thirty years and includes work in many different media including drawings, sculpture, video, and installation. However, he is best known for his draftsmanship, and his drawings have been consistently admired and sought after by collectors and museums. This most recent publication of his works on paper focuses on the White Cut-Outs and Red Drawings. The predominately white cut-out drawings are ephemeral studies in composition and subtraction. Made by literally cutting the paper with an exacto blade, the elegant works belie their extremely complicated fabrication and technical bravado—visible as much by the shadows they cast as by the drawn line. The Red Drawings began in direct response to the White Cut-outs. The intensity and saturation of the red chalk infuses the drawings with a different life and character. The tone of these pieces is complicated, political, and equally fascinating.This oversize book includes all of the pieces made from both series and is accompanied by an essay by Carter Foster, drawing curator at the Whitney Museum of American Art.