Contributed by William Eckhardt Kohler / “Make It or Break It,” now showing at C24 Gallery in Chelsea, features a group of artist known for their curatorial practices who use collage or found objects to disrupt, critique, and reflect reality.

Contributed by Rachel Youens / While preparing for this conversation with William Eckhardt Kohler, who recently had a solo at Catskills Gallery in Tribeca, I noticed that in his earlier work, he occasionally portrayed figures who were sleeping or dreaming.

At the Warhol exhibit at The Whitney, in a glass case at the end of a wall, towards the end of the exhibit and surrounded large and both well-known and less known pieces, is a group of small, gray, low contrast photographs.

This exhibit of small monochrome water based drawings evokes a consistent sense of small town ennui and alienation. Windows viewed from outside; photo-sourced scenes of railroads, store fronts and dark nights images punctuated by bursts of light; and pieces composed solely of words make up the bulk of this show.

One of the most famous metaphysical moments in film history is the scene from Goddard’s 2 Ou 3 Choses Que Je Sais d’Elle (2 or 3 Things I Know About Her) from 1968, when the camera zooms in on a stirred cup of coffee evoking the macrocosmic milky way and then, as the stir settles, the microcosmic splitting of a cell.

My first great art teacher was a tall black man named Bernard Harmon who ran the art program at Central H.S. in Philadelphia, an all boys public magnet school.

After more than 2 years of neglect I’m re-opening my Painting Lives! blog. My idea is to approach this in more of a diary form than full on exhibition reviews. It will be less formal and I intend to get less wound up about language and writing quality, instead focusing on a range of art and painting-related topics.

Kyle Staver continues to develop her personal and robust take on the Grand Western figurative tradition. She studied as a sculptor, and her figures have a chthonic monumentality as if they had been pulled and molded directly out of clay.

Though she has long been exhibiting in Chicago, most recently at Corbett vs. Dempsey, Margot Bergman's show at Anton Kern is her first New York solo exhibit; and at 82 years old she arrives with a beautiful, intense and moving exhibit. Comprised of sixteen imaginary portraits half of the paintings are part of her long practice of working on top of paintings she has found in flea markets.

This is the second in a series of interviews of gallery dealers.

I was once given the advice to see gallerists as artists and that their gallery program is their art.

My purpose is in part to demystify this aspect of the art world, to the degree that these conversations can, and to humanize the sometimes confusing relation between artists and art dealers that is often fraught with projections of authority and power.

Though Davidson does not wish his paintings to be explicitly referential beyond what they are, there is openness to many of them, which simultaneously invites and resists associative interpretation.