NY ARTS MAGAZINE Isca Greenfield-Sanders by JOYCE KOROTKIN Referring more to its content than it does to formalist discourse on the boundaries between painting and photography, Isca Greenfield-Sanders’ recent solo at Lombard-Freid Fine Art is a tour de force in which art and ideology are seamlessly entwined. Her methods – digitally altered, found photographs printed on canvas then worked into with paint – address post-modernist dialogue by blurring the boundaries between processes, causing a certain tension in the work; but her expressive effects within these constructs is what takes precedence. In this arena, Greenfield-Sanders is simply transcendent. Subject matter is taken from generic old photographs, the kind that might comprise a sort of universal family album. These faded images are layered over with sharply delineated color contrasts; jewel tones of turquoise or emerald and the corals and reds that become radiant at dusk. These shimmering colors are translucent, almost hallucinatory, [...]

ARTNEWS Reviews, Isca Greenfield-Sanders International  GALERIE KLÜSER 2 Munich   Isca Greenfield-Sanders’s work is intriguingly deceptive. What seem like snapshots, blown up and painted over, hide a process that addresses issues of family and memory. Looking at these compelling new works, the viewer becomes immersed in someone else’s reminiscence. A family is seen in a glowing halo of nostalgia: a chubby girl in a baby swing, a family get-together, father and son on the lawn. But the black-and-white memories have been gussied up with garish hues that contrast with the 1950s aura. The large-format works were constructed from smaller squares pasted to canvas and assembled like mosaics. The process is laborious: photos are scanned, and, using a computer, the artist isolates particular elements from them to construct her own “remembrance.” This falsified memory is printed on rice paper and colored with pencil and watercolor. Those images are then scanned and printed [...]

ARTNEWS Review, Isca Greenfield-Sanders John Berggruen December 2005 This series of ten large-scale “Beach Detail Paintings” (2005) by New York artist Isca Greenfield-Sanders offered a breath of fresh air. The artist based these works on snapshots of family vacations from the 1950s and ‘60s, taken from slides that she purchased at a yard sale. She scanned the slides, pared them down to a few select details, enlarged the images, and then printed each section on a sheet of rice paper. She then assembled the pages and used oils and watercolor to give the images her own vibrant color, rich texture, and crisp translucence. The artist painted several of the same images in both pink and blue color schemes. Yellow Butt Beach is a study of light at low tide. In the pink version, coral hues are reflected in calm surf as a figure in yellow swim trunks crouches beneath a [...]

TIME OUT NY Art Review, Isca Greenfield-Sanders Goff + Rosenthal These lyrical paintings of the American dream in the summertime are less cavalier than they look. The series began when Isca Greenfield-Sanders purchased a slide archive from the 1960s on eBay last year-scenes of a family lounging at the beach or by a backyard pool. She scanned the slides and re-worked digital prints of the images with watercolor and pencil; she then enlarged those images, affixed them to canvas and painted over them completely to produce works that look like fashionable blurred spots from a lifestyle magazine. In Bright Beach, a family settles in for a day at the seaside, shading themselves under a striped umbrella. Three Boys, a painting of children playing at the edge of the surf is the quintessential picture of a perfect day at the beach. Despite its title, Coney Island doesn’t depict crowds or a carousel; instead, [...]

ARTFORUM  Reviews, Isca Greenfield-Sanders November 2006 GOFF + ROSENTHAL What is striking about Isca Greenfield-Sanders’s “Pinelawn Pools” series (all works 2006) is the sharp juxtaposition, in several of the paintings, of luminous blue swimming pool and dark surrounding shadow. Both are expansive, however self-contained the pool and uncontainable the shade. In Swimming Pool Landscape, the latter threatens to engulf the former, and with it the people around the pool. They’re veritably “living on the edge,” trapped between two pits, as it were, one neatly geometrical, the other abysmal and spreading like a cancer. The picture needs only a pendulum to turn it into something out of Edgar Allan Poe. But of course gloom is not an acknowledged part of American suburban life. Why else move to the periphery except to escape the dreariness and anonymity of a city? Greenfield-Sanders’s paintings are gothic horror tales in disguise: Their secret terror is [...]

THE NEW YORKER  Goings on About Town, Isca Greenfield-Sanders OCTOBER 2, 2006 GALLERIES-CHELSEA If Edward Hopper were a man of the suburbs instead of the city, he might have painted works like these. Greenfield-Sanders emulates the soft, sanded-down look of Hopper's figures and the rigorous compositional architecture, although her vantage points are aerial rather than earthbound. Her works function like back-yard pastorals, peopled with swimmers in pools and loungers in deck chairs looking out over dark, Cheever-esque landscapes. Found photographs serve as source material for these works-a genetic influence, perhaps, since her father is photographer Timothy Greenfield-Sanders. Through Oct. 14. (Goff & Rosenthal, 537 W. 23rd st. 212-675-0461.)