LAST MONTH, while the Contemporary Arts Center’s “Body Photographic” attempted nobly to survey the range of today’s camera artists working with the figure – the most traditional of subjects – some other galleries took on tradition too, but more generally. And their efforts seemed especially insouciant, as if traditionalism were as much the order of the day as any remnants of the avant-garde. In short, as if the distinction no longer mattered. It was an encouraging sight.

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“The ‘Black Male’ show at the Whitney Museum is one of the liveliest and most visually engaging exhibitions to have appeared in New York this season…

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Ida Kohlmeyer was a fine golfer and a 37-year-old mother of two with a businessman for a husband when she began studying art at Newcomb College in the 1950s.

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If the term “works on paper” conjures images of intimately scaled art objects — from postage stamps to origami sculptures—then it’s time for you to visit Edward Whiteman’s splendid new installation of wall-sized mixed media drawings at Arthur Roger Gallery, 432 Julia St.

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In the last ten years Jim Barsness has moved from the West Coast to the East Coast and back again. Nothing in his work seems to correspond obviously with these changes.

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Douglas Bourgeois grew up Catholic in a rural hamlet in southeast Louisiana. Born in 1951, he attended a parochial elementary school where he served as an altar boy, and in his teens enrolled in a training facility for future priests. Today, Bourgeois is not a churchgoer and eschews organized religion.

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