"This uncompromising toughness was present from the beginning, as evidenced by “Self-Portrait” (1931–33) in the exhibition Lee Krasner, at Robert Miller Gallery (April 21–June 4, 2016)," writes Hyperallergic of Lee Krasner. Read the full review here.

The New Yorker writes, "This succinct retrospective makes a strong case for the painter, who died in 1984, as an underrated master of Abstract Expressionism," of Robert Miller Gallery's current exhibition, Lee Krasner. Read the full review here.

The Hamptons Art Hub says of Lee Krasner, "With a major work on view at the Whitney Museum, Lee Krasner is far from obscure. Nonetheless, the current survey at the Robert Miller Gallery, by revealing a continuity in her process that is often missing in other shows, has a solid claim on the attention of those who might feel they know her historic place in the renowned circle of Abstract Expressionists." Read the full review here.

We are excited to announce that Patti Smith's exhibition Eighteen Stations is traveling to the Kulturhuset Stadsteatern in Sweden. To find out more information visit, http://kulturhusetstadsteatern.se

I suspect the divinity being invoked is not the customary object of Christian devotion, but a deity responsible for artistic creation. The graves include those of Pier Paolo Pasolini, Sylvia Plath, Ryunosuke Akutagawa, Gerard de Nerval, Dylan Thomas and Jean Genet, as well as that of philosopher Ludwig Wittgenstein and of diplomat Dag Hammarskjöld’s father, Hjalmar.

To read the full article, visit http://on.wsj.com

The rock legend’s recent memoir, “M Train,” describes Smith’s lifetime of pilgrimages to the homes, haunts, and graves of writers and artists she reveres. Photographs from the book are on view here, alongside other black-and-white pictures that are just as elegiac and sombre.

To read the full article, visit http://www.newyorker.com/goings-on-about-town/art/patti-smith-7

With no regard to chronology, this exhibition echoes the modus operandi of human memory, navigating different episodes of history—personal and public—in no specific order. Each image is a signpost for the many interlacing narratives that make up Patti Smith’s life and travels.

To read the full article, visit http://artforum.com/picks/

Patti Smith tells The Guardian about her photography, “I don’t like bothering people and it’s just nice to have a human form to photograph. Sometimes you get a statue and with a certain light, they feel as if they have an empathetic, human quality.”

To read the full article, visit theguardian.com.

Robert Miller Gallery's represented artist Mark Fox spoke with the Houston Chronicle about his residency at Giverny, the estate in France where Claude Monet created his water-lily paintings, and current exhibition at Hiram Butler Gallery. The author writes of Fox's processes,

Fox realized Monet's paintings have become so ubiquitous no one - himself included - really sees them anymore. There had to be another way to see what nobody sees, he thought.

Then it hit him: Even Monet didn't see under the water's surface. His paintings reflect the changing colors of the sky.

Giverny had rules, and the one about not going into the pond was explicit. But on the sly one afternoon, Fox put his camera on "video" mode, attached a string and sent it out into the water.

He was amazed by the "beautiful, crazy life" under the lily pads.

To read the full article, visit houstonchronicle.com

In its September–November 2015 issue, ART OnCuba magazine featured Nuevos Colores, a group exhibition of new work from Cuba on view at Robert Miller Gallery 10 September – 19 November 2015, and included an exclusive interview with Robert Miller Gallery owner Betsy Wittenborn Miller. In the interview, the author includes Betsy's thoughts,

(…) Obviously, for the last fifty years, the representation of Cuban art in the United States has been negligible. While the artists of earlier generations, Wifredo Lam, for example, are well known, most of the population is too young to remember first hand what the artists in Cuba were doing before the embargo and during that time period access was difficult. Manuel Mendive who had begun working before the embargo is certainly underrepresented.

Hopefully our exhibition and certainly the Bronx Museum show will change this situation. So yes, I think we will make a difference with the exhibition simply because we are presenting the work and advertising our show, NUEVOS COLORES. The work will speak for itself. (…)

To read more of the article, visit ARTOnCuba.com.

In its arts section, the Huffington Post's Lauren Scott Miller details her visit to Arlés del Rio's studio in Cuba, discussing his work featured in Nuevos Colores, a group exhibition of new work from Cuba on view at Robert Miller Gallery 10 September – 14 November 2015. She writes of del Rio's work,

One particular artist struck my eye during a trip to Cuba this past May for the Havana Biennial - Arlés del Rio. His installation, La necesidad de otros aires (The need of other airs), was one of most engaging and powerful in Zona Franca, a main exhibition site of the Biennial, and is now being featured in Nuevos Colores.

To read the full article, visit Huffington Post here.

In its September 2015 edition, Sculpture Magazine reviewed Ted Victoria's recent exhibition that was on view at Robert Miller Gallery January through February 2015. In the review, art critic Joyce Beckenstein comments,

Ted Victoria continues to baffle and enlighten viewers with works that explore relationships between actual objects and their photographic representations. Iconic sea monkeys, aswim in projection boxes, along with banal objects sequestered within enigmatic camera obscura constructions, still prevail. But Victoria now gives greater stage presence to his process, incorporating it as an integral component of his photography-as-sculpture. The results have us experiencing his works through the double lens of optical science and visual perception, their outcomes amplifying the disconnects between reality and illusion.

To read the entire article, download .

In "Critic’s Picks", Artforum reviewed Willem Oorebeek’s current exhibition on view at the Yale Union (YU). In the review, art critic Phil Taylor comments,

“These not-quite-iconoclastic abstractions are another kind of upright, solitary figure (or “monolith,” in the artist’s punning terminology) that here serve as objects of identification, desire, and power, probing print media as a persistent matrix of our era. But Oorebeek does all this with something of the jester’s cant, as he dances between the modernist twin peaks of mechanical reproduction and monochrome.”

To read the entire article, visit Artforum.com.

Image: Willem Oorebeek, Vertical Club, 1994-present, lithograph on Japanese paper on sheetrock, dimensions variable.

Artnet recently listed Robert Miller Gallery's exhibition, Abstraction, as one of fourteen of the best summer gallery group exhibitions in New York. At the top of the list, the review comments:

Featuring seasoned names like Yayoi Kusama, Lee Krasner, Al Held, Paul Jenkins, and Milton Resnick, this show of dynamic abstract paintings is one of the season's most buzzed-about. While Kusama enthusiasts will prefer her "Obliteration Room" down the road at David Zwirner, we appreciate this show's pared-down aesthetic and emphasis on showcasing a variety of paintings.

To read the entire article, visit Artnet.

On the Font Lines: Military Veterans at The Art Students League of New York, an exhibition co-curated by Jillian Russo, Ph.D., the League's curator, and Executive Director Ira Goldberg, features paintings by twenty prominent artists who served their country and studied or taught at the League from 1945 to the present. Including Charles Alston, Stanley Boxer, Michael Goldberg, Al Held, Paul Jenkins, Alfred Leslie, and Robert Rauschenberg, the League also issued an artist call for any veteran who studied at the League to participate in a coinciding show in the League's lobby and main office.

Image: Paul Jenkins, Phenomena of Air Striae, 1959, oil & enamel on canvas, 70 x 50 in. ©2007 Estate of Paul Jenkins.

Read more here.

Bowdoin College Museum of Art (BCMA) will be presenting the first major museum survey dedicated to scenes of the night in American art from 1860 to 1960—from the introduction of electricity to the dawn of the Space Age. Night Vision: Nocturnes in American Art will bring together 90 works in a range of media—including paintings, prints, drawings, and photographs—created by such leading American artists as Ansel Adams, Winslow Homer, Edward Hopper, Lee Krasner, Georgia O’Keeffe, Albert Ryder, John Sloan, Alfred Stieglitz, and Andrew Wyeth, among others. Featuring exceptional works from the Museum’s collection as well as loans from prestigious public and private collections across the United States, the exhibition will provide visitors with an opportunity to consider transformations in American art across generations and traditional stylistic confines. Organized by Bowdoin curator Joachim Homann, Night Vision will demonstrate the popularity of the theme with American artists of diverse aesthetic convictions and investigate how they responded to the unique challenges of picturing the night.

The works featured in Night Vision will reflect the broad range of subject matters that attracted artists to night scenes—including the reflections of moonlight on ocean waves, encounters in electrified urban streets, and firework celebrations. Across the range of works presented in Night Vision, visitors will see how reduced visual information and an altered perception in the dark tested artists’ ability to render shadow, light, and form. This lack of light ultimately resulted in less illustrative scenes and transformed the night into an arena for stylistic experimentation and the rise of abstraction in the early mid-twentieth century.

Night Vision is on view June 28 through August 14, 2015.

Bowdoin College students provide tours of the exhibition Tuesday through Sunday at 2:00 p.m.

Bowdoin College Museum of Art

9400 College Station

Brunswick, ME 04011

207.725.3275

artmuseum@bowdoin.edu

For more information, visit the Bowdoin College Museum of Art website.

Image: Lee Krasner, Assault on the Solar Plexus, 1961, oil on canvas, 81 x 58 inches (205.7 x 147.3 centimeters). © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Courtesy of Robert Miller Gallery.

Kips Bay Boys and Girls Club

Decorator Show House 2015

Arthur Sachs Mansion

58 E 66th Street, New York City, 10065

Works by Robert Greene currently on view through June 11, 2015

Monday through Saturday 11am - 5pm

Tuesday and Thursday evenings until 8pm

Sunday 12pm - 5pm

Children under 6 years old (including infants) and pets are not admitted.

Admission $35 includes Journal

"There’s a scene when the characters are running through the Louvre. I removed all of the art and replaced it with “I Love You” over and over again because it’s the last thing that all of these people left on their suicide notes. I love the idea of running through this vacant field where art used to be." -- Todd Pavlisko

To read the entire feature, visit

The solo exhibition I Love You is on view at Robert Miller Gallery now extended through May 30.

WILLEM OOREBEEK

An Exhibition May 30–July 19, 2015

This exhibition, Willem Oorebeek’s first in an American institution, will be designed with Kris Kimpe, an architect in Antwerp.

Robert Miller Gallery is pleased to announce the recent opening of Paul Jenkins: A Tribute, a solo exhibition on view at The Butler Institute of American Art through May 17, 2015.

El Pais, a daily newspaper published in Madrid, interviews Peter Sacks in response to the recent exhibition Books beyond Artists: Words and Images, which is on view at Ivorypress through May 9, 2015. Curated by Elena Ochoa Foster, founder and CEO of Ivorypress in collaboration with the Ivorypress team, the exhibition is dedicated to artists' books and their role in the history of art until the present time. In addition to exhibiting numerous works (pictured above), Peter Sacks was invited as a guest panelist for the discussion Artists' books in the 21st century: cult objects?, organized in conjunction with the exhibition.

To read the full article, click here.

For more information about the exhibition, visit Ivorypress.

Video: Panel discussion entitled Artists' books in the 21st century: cult objects?