This third cycle is the strongest yet. “It’s been exciting to see the artists in this show working at the boundaries of what representation can be: paintings that hover on the edge of abstraction, that engage with the modern world, and that tell stories from inside communities that have often been excluded from the history of Western painting,”says artist and 2023 Bennett Prize juror Zoey Frank.

Taylor is among several artists who portray mirrored gazes. So does Melissa Ann Pinney in her public-bathroom photograph “Portrait of Jael” and Paul Mpagi Sepuya in a nude self-portrait in which he’s entwined with another unclad man, with the artist’s visage mostly hidden behind his camera. Even murkier are the faces in Laura Karetzky’s “Toast,” a painting that includes people reflected in, and distorted by, a chrome-clad toaster.

Here’s a shortlist of recommended booths: global powerhouse Perrotin; iconic-to-cool NYC dealers Kasmin and Karma; European bastions of important discourse Hales Gallery, London, and Kerlin Gallery, in from Dublin; and L.A. outposts of cool Anat Ebgi, Louis Stern Fine Arts, Night Gallery, Luis De Jesus, and Various Small Fires (L.A., Seoul), which also unveils a permanent Dallas space timed to the opening of the fair. (We’ll be catching up with VSF’s Esther Kim Varet in the coming weeks for an in-depth profile.)

Karetzky plays with ideas of simultaneity and what is seen or inferred through painted visual illusions. The works concretize the sense of distance and isolation many felt during the pandemic, yet rather than see limitations, Karetzky explores possibilities.

Across town, in downtown L.A., Luis de Jesus Los Angeles has a trifecta of shows that engage architecture in different ways. Nicolas Grenier uses a labyrinth structure as a site for presenting diagrammatic paintings that chart questions of governance (and more metaphysical questions of color), while in a separate space, painter Laura Karetzky compellingly riffs on the nature of the window — as structure, but also as metaphor. In addition, artist Edra Soto dwells on the memories and social signifiers embedded in architecture, reproducing brise soileil structures typical of vernacular Puerto Rican design, but placing within them tiny transparency viewers that feature images of people and places.

Karetzky adeptly addresses this new convergence of human interaction and observation in her work. The notion of watching someone through a digital platform has largely influenced daily life because of social distancing — sometimes for the better, and sometimes for the worse. Now, even as we peel our eyes away from these windows to re-enter our offices, schools and shopping centers, we all seem to be stuck between two windows. 

In the group exhibition Painting the Narrative at the National Arts Club in New York City the artist Dee Shapiro brings together six contemporary artists who explore content and form of narrative painting ranging from interiors to landscapes, personal to imagined, realistic to fantastic. Featured artists: Jennifer Coates, Laura Karetzky, Judith Linhares, Ernesto Renda, Kyle Staver, and George Towne. The show runs through June 28th.

Our impulse to tell stories is as human as the need to consume them. It shouldn't come and go like a new trend. That's why I was so surprised to learn that the art world had rejected narrative art until recently.

During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping. For the past six years Laura Karetzky’s practice has examined the way technology and virtual communication is able to sustain us in various states of perspective, as it confounds our idea of autonomy and community.

In Ratio: Poems, Laura Karetzky creates paintings within paintings. These intimate and personal works construct narratives that bring people together while also suggesting gaps in time. Karetzky layers pictorial fragments that resemble cell phone selfies and snapshots, juxtaposing large-scale realistically rendered scenes with smaller insets. The pieces are beautifully painted figurative representations that include close-ups of faces, corners and walls of interior spaces, as well as exterior scenes extracted from everyday life, many including groups of people.

Selfies in domestic interiors, mobile phones, and computer screens are ubiquitous throughout Laura Karetzky's paintings. Her fragmented figures inhabit familiar interior spaces such as a bedroom or a work space, resonating altogether the uncanny in our daily experiences in this digital age, where the boundaries between space, time, self and other become increasingly blurred and at times even disorienting. In this interview with Art Spiel  Laura Karetzky reflects on her figurative painting roots, her process, and her upcoming projects.