Most people won’t find Regina Rex’s tunnel-like basement gallery to be large in any sense of the word. But coming from a one-room studio in Ridgewood, the collective has definitely found themselves an upgrade.
There are customary systems for composing an image which become clear after a long day of trolling artists’ websites— central shapes, which fit comfortably inside the edges of the picture plane, and room for the eye to move back in space. Ginny Casey’s paintings defy that mold, producing the same clunky, sentimental quality that Susan Rothenberg and Phillip Guston do so well. It’s a quality that only happens in painting.