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"Contributed by Amanda Church / Who else had never heard of Herman Cherry (1909–1992) until images of his spare and radiant paintings suddenly started appearing all over social media? With two NYC gallery shows up, at Sebastian Gladstone in Tribeca and Shamnoski uptown, plus one at Sebastian Gladstone in Los Angeles in 2025, his work is deservedly in the spotlight after almost 20 years."

"Contributed by Sharon Butler / In October, Two Coats of Paint welcomes Kirstin Lamb from Providence, Rhode Island. She has taught at Brown University and Clark University and is currently a visiting faculty member at the College of the Holy Cross in Worcester, Massachusetts. Working in an old textile mill in nearby Pawtucket, Lamb makes labor-intensive paintings built from fields of adjacent and overlapping marks – dots, stitches, pixels. The technique is something like Georges Seurat’s pointillism crossed with Chuck Close’s portrait grids. But whereas Seurat and Close divided observed light into packets of color, Lamb draws photographic source material, including wallpaper, fabrics, and images of forests. She painstakingly transfers these images, first digitizing them into grids on the computer, then translating the studies onto the painting surface, mixing and applying the paint by hand. Lamb’s probing inventiveness prompted Elizabeth Michelman, writing in Artscope, to extol the artist’s “campaign against rumors of the Death of Painting.”"

"Contributed by Sharon Butler / Two artists I know are both showing at Brigitte Mulholland in Paris this month: Dublin-based Damien Flood, whom I knew from our days showing together at Theodore, and Atlanta-based Craig Drennen, a former Two Coats of Paint resident artist. I had questions."

"Contributed by Sharon Garbe / Gathering Moss, the title of a work in Selena Kimball’s exhibition “Ice-blink” at Ulterior Gallery, describes both literal activity and metaphorical non-activity. It’s also the title of a book by the bryologist and Native American author Robin Wall Kimmerer. I learned from that book that moss and lichens grow on every continent and in all climates, from scorching deserts to the coldest polar regions. While the Arctic is a central motif of the show, Kimball’s work also plays with scale, location, and authenticity more broadly. The larger works in the show have physical gaps that raise questions. Who is missing? Who is the hero of a referenced colonial expedition? Do works that look fragile reflect the fragility of what they depict? Kimball’s works are representations of representations that resist easy classification. Some might call them collages. Others might think of cargo cult replicas. I would describe them as conceptual process pieces resulting in low-relief wall sculptures."

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