The Mystery of Hieronymus Bosch by Ingrid D. Rowland | The New York Review of Books
“His imagination ranged from a place beyond the spheres of Heaven to the uttermost depths of Hell, but for many of his earliest admirers the most striking aspect of his art was what they described as its ‘truth to nature.’”
Farideh Lashai’s retrospective—spanning five decades and occupying all three stories of Bait Al Serkal, a nineteenth-century home-turned–exhibition space in downtown Sharjah run by the Sharjah Art Foundation—included paintings, animated projections on painted canvases or prints, sculptures, and an installation.
“The women who inhabit the nine vibrant, introspective paintings (all 2015 or 2016) in Heidi Hahn’s exhibition “Bent Idle” embody an array of emotions, their demeanors both infectious and startling. In I Had a Dream of Being Seen and It Looked Like You, an exuberant figure raises her arms in the air. To her right, another woman, with a look of cautious artistic pride, holds up a small painted portrait of her companion—a blobby rendering.”
“Still evident, however, was her mastery of craft. Moyer has a distinctive ability to combine visual snap (honed by years of working as a graphic designer) with an omnivorous intellectual and visual curiosity. That mix has made her an influential figure among younger critically minded painters. Moyer deserves much credit for unearthing mid-century abstraction as a vehicle for thinking about women’s relationships to their bodies and history.”
Unfinished: Thoughts Left Visible creates a nice balance between old and new with 179 works ranging from the Renaissance to present day. The exhibition’s insistence on subjectivity and participation falls in line with contemporary art formula. The unfinished work creates a tension between the artist and viewer and engages the viewer’s imagination in ways a completed work would not.