Sensitive to Art and Its Discontents

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Hiroyuki Hamada chose paintings by Elliott Green, Eric Banks, and Sean Sullivan, above, for the upcoming exhibition at the Arts Center at Duck Creek.

The American Academy of Arts and Letters presents its 2020 Invitational Exhibition of Visual Arts, displaying artwork at its galleries in Washington Heights’ historic Audubon Terrace. Paintings, sculptures, videos, photographs, and works on paper by 28 contemporary artists will be exhibited from Thursday, March 5 through Sunday, April 5, 2020.

In “Space as Narrative” at Concord Center for the Visual Arts, curator Joel Janowitz examines how artists imbue space with story and psychological charge.

In his first New York solo since 2009, Mr. Green unveils the tumultuous baroque landscapes that have evolved from the painterly cartoon figures that once inhabited his canvases.

Elliott Green’s show at Pierogi is an eye-opener. The dozen ambitious canvases exude enormous confidence and verve, and more than most contemporary abstract painting, bring the once-radical genre of abstract-expressionism back to its original roots.

Green has channeled the landscape paintings of the early Northern Song dynasty — when painters took to the mountains to escape the turmoil of a political order uneasily shifting from aristocracy to bureaucracy — along with the fantastical landscapes of the Sienese painter Ambrogio Lorenzetti.

Elliott Green’s paintings appear to be in continuous motion, the way animals, plants, and ultimately rocks and mountains are in continuous motion, even when our human vision fails to apprehend it.

The first exhibition in some years of Elliott Green’s recent paintings of infinite landscapes—or rather, mindscapes—was as visually stunning as it was intellectually rewarding.

Green is a wizard with paint – he applies it in different ways, scrapes and pulls it up, all seemingly without effort. He can have the grooved brushstroke hold two colors, become dry as it is pulled across the surface, or stay lush and yummy.

Green’s two paintings, both from 2008, are small, 12 x 18 inches, and, like his abstract landscapes, they hover tantalizing on the cusp of legibility without ever tilting into the pictorial.

Elliott Green’s abstractions, smeared with shale-like layers of paint, offer a dizzying response: paintings that remediate computer graphics that remediates painting.

Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.