Article: Joe Fyfe at JG/Contemporary.(NEW YORK)(Jay Grimm Gallery)

Article: Joe Fyfe at Jay Grimm. (New ...
Art in America;  March 1, 2003 ;     648 words ...Not the least remarkable aspect of Joe Fyfe's show at Jay Grimm was that it could be seen in its entirety, with due and dignified attention to each piece, without the viewer shifting feet ...

Article: Joe Fyfe at JG Contemporary.(NEW YORK)
Art in America;  September 1, 2007 ;     700+ words ...Eschewing "easel painting decisions" for a collagelike process that allows for great procedural flexibility, Joe Fyfe elicits emotional fine points from deceptively broad gestures. Generally, his paintings fall into two size ranges. They are ...

Article: Joe Fyfe at Nicholas Davies.(Brief Article)
Art in America;  April 1, 1999 ;     700+ words ...This painter began as a realist, depicting unpeopled landscapes, somber in color as though seen through lightly tinted sunglasses. A couple of seasons ago he kicked over the traces and emerged as an abstract painter, and the 14 oils in this new show continue his development in that direction. Fyfe

Article: Patrick Strzelec at Jay Grimm.(Brief Article)
Art in America;  July 1, 2000 ;     700+ words ...The three peculiar sculptures in this exhibition coexisted somewhat uneasily in the small storefront gallery that contained them. Each deals with formal issues that have been the lifeblood of modern sculpture, among them relations of solid and void, gravity and extension, malleability and rigidity,

Article: Richard Smith at Jay Grimm.(Brief Article)
Art in America;  July 1, 2001 ;     700+ words ...Richard Smith is an artist's artist, whose first loyalty is to his curiosity and who never cared to develop a signature style. Smith attended the Royal College of Art in the late 1950s and became one of the brighter lights in the richly colorful British generation that included the figurative Pop

Article: Jess von der Ahe: Jay Grimm Gallery. (New ...
Artforum International;  January 1, 2002 ;     700+ words ...Perhaps it's a mark of my own post-feminism (or just squeamishness) that I assumed the blood in von der Ahe's work was drawn from her arm. Taking the politics out of menstrual blood is certainly one of the artist's accomplishments: Rather than provocation and shock (a la Tracey Emin's used tampons)

Article: Jess von der Ahe at Jay Grimm.(art ...
Art in America;  November 1, 2000 ;     700+ words ...Like Reinhardt and Ryman before her, Jess von der Ahe finds great potential in a limited palette, creating ornate abstractions using only white, gold and subtle shades of red. To further constrain her color choices, yon der Ahe's white is the unvarying background of gessoed board, and her gold is