Jennifer Bartlett's 10th solo show at Locks Gallery could be considered a mini-retrospective, except that it's made up exclusively of her work from the 1970s - the dot paintings on baked-enamel-covered steel plates that she showed alone or arranged in grids and that launched her career - and new work, much of which also employs dots in baked enamel on steel plates.
There are painters who steer away from drawing, and artists who draw beautifully but rarely paint. And then there are the few who do both convincingly well. One such artist, Anne Seidman, moves between the two with such seeming ease that you realize she is concerned less with the media she deploys than with all the other factors that contribute to a completed painting or drawing: color and spatial relationships, tension, control.
Edith Newhall has been reviewing gallery exhibitions for The Inquirer since April 2005. She is a former staff writer for New York Magazine, where she covered the New York art world in features, exhibition reviews and interviews with artists. Her articles on the arts and travel have also been published in ARTnews, the Washington Post, Travel & Leisure and Condé-Nast Traveler. She is the co-author of "In Artists' Homes" (Clarkson Potter, 1992).