Saul Ostrow is an independent critic, and curator, Art Editor at Large for Bomb Magazine.
Charles Gaines: Southern TreesBy Saul Ostrow
By abstracting Gainess processes and its operation we can tie his game of building and deploying systems to the real worldthey are models of the way in which the particular loses its identity and becomes part of a category. Gainess works, then, function as analogies whose subject is the construction and discernment of identity.
David Deutsch: Hurly-BurlyBy Saul Ostrow
Given a selection of earlier works in the lower gallery at Eva Presenhuber it is apparent that Deutsch has always been aware that what differentiates a mimetic image from an abstract one is that an images mimetic function of simulation is at its highest when the medium least asserts itself; inversely when the medium asserts itself most viewers see its materiality and not what may be encoded in it.
KP Brehmer: World in MindBy Saul Ostrow
In his effort to subvert capitalisms visual representation of politics, economics, science, consumer culture, and everyday life, KP Brehmer adopted a graphic designers aesthetic to produce diagrams, postcards, inserts, multiples, posters, banners, and displays.
William Corwin: Lethe-WardsBy Saul Ostrow
In 2021 on the occasion of his exhibition Green Ladder, I had written that artist William Corwins works are discursive, and recursive, while his subject-matter and contents are heterogeneous, interdisciplinary, and multi-cultural. Often Corwin is a time-traveler filling his sculptures with esoteric, mystical, and mundane knowledge from the past.
Simone LeighBy Saul Ostrow
Simone Leigh makes highly refined and stylish sculptures that seemingly tell consciously constructed stories as well as unintended ones. The installation of this exhibition of her works at the Institute of Contemporary Art (ICA) in Boston is stark, dramatic, and elegant.
Alex Katz: GatheringBy Saul Ostrow
It might be best to think of it as a tightly-knit show of selected works, which unravels about half-way through as Katzs imagery becomes increasingly abstract.
Let Us Start by Identifying Differing EndsBy Saul Ostrow
I have been asked to consider this moment as an opportunity to elucidate what we can learn from what happens when a major museum decides to expand and the contingent consequences of that decision as it affects the future of art within the city.