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.)

ARTNET POOLS OF WONDER by CHARLIE FINCH   My wife and I, children of the ocean in Florida and New Jersey respectively, recently acquired a pool. We found it in relatively rundown condition and had to buy a new filter, which resembles Sputnik, and monitor the PH closely. When we walk up hill and dale, we now check out the neighbors' pools with lascivious curiosity. So, it was with participatory interest that we recently attended a small party at Goff + Rosenthal gallery for Isca Greenfield-Sanders' suite of five new paintings, "Pinelawn Pools." "Pinelawn Pools" is the last in a series of fortuitous memory paintings which Isca began in 1998 when she stumbled upon an abandoned trove of anonymous family pictures from the 1950s at an estate sale. Her subsequent paintings, an alchemy of photography, computer manipulation, watercolor and oil, are simply irresistible, defying interpretation, yet tickling the heart. For [...]

VANITY FAIR Striking Oil, Isca's Talent Runs in the Family by A.M. HOMES | September 2006   She is a young artist with provenance-her father is photographer-filmmaker Timothy Greenfield-Sanders, her grandfather Abstract Expressionist Joop Sanders. At 27, Isca Greenfield-Sanders has already had exhibitions in Europe, and this fall she has a show opening in New York at Chelsea’s Goff & Rosenthal gallery. Her paintings, based on found photographs of strangers, are syntheses of old-fashioned technique and new-fashioned technical prowess. After each picture is scanned and edited, it becomes a composite of small watercolor “tiles” which evolve into a six-foot oil painting. “I became very attached to the Warholian idea of an image never having a finite end. Using computers and printers, I am able to continue to reproduce a single image, changing scale, medium, and palette-I learn about the image cumulatively,” the artist explains. Her images are pared down to their [...]

ARTNET COMFORT AND JOY by CHARLIE FINCH When I visited Damian Loeb in his Tribeca studio two years ago, I found the artist despondent. His gallery, Mary Boone, which had elevated him to a figure of esthetic controversy, had mysteriously turned against him. Loeb found himself furtively exhibiting his paintings in Europe and tired of the grandiose, cinematic themes in his old work. For solace, Damian began to photograph landscapes in Prague, New York and rural Connecticut and to use these snaps as the basis for a series of small, pastoral paintings. Last week, I found Loeb reinvigorated and content at the opening of his first solo show at Acquavella Galleries’ uptown townhouse. True, Acquavella has regurgitated Damian’s film themes with an elaborate catalogue and poster done up as faux movie advertisements, no doubt an appeal to the Los Angeles collector coven, and Acquavella’s downstairs space is filled with Loeb’s [...]

ARTNEWS Isca Greenfield-Sanders, Goff+Rosenthal by MEREDITH MENDELSOHN | January 2009 In this lively and in ways disturbing show, Isca Greenfield-Sanders fixated on the parachute.  The mostly mixed-media-and-oil paintings, as well as the drawings, were based on World War II and Korean War photographs.  Nevertheless, the artist’s use of bright sumptuous hues was more suggestive of leisure activity than of warfare. These works had the charm of Antoine de Saint-Exupéry’s aeronautic drawings in Le Petit Prince, a book that Greenfield-Sanders acknowledges as an influence.  But her perspective is more complex.  The figures don’t seem free by flight; rather, they appear paralyzed by it.  In images from the “Orange Parachute” series (2008), for example, a body hangs from ropes like deadweight, and the viewer can sense its heaviness and immobility as it sinks. One of the more intriguing paintings, Gold & Pink Parachute (Gold), 2008 shows a figure under a gold parachute.  Situated [...]

NEW YORK MAGAZINE Entertainment / Artist Isca Greenfield-Sanders Falls to Earth September 15, 2008 Isca Greenfield-Sanders is showing a series of delicious watercolors at Goff + Rosenthal (through October 11) of minuscule figures parachuting through cloudscapes the color of summer and candy. The paintings are apparently based on vintage images of WWII and the Korean War and have the simplicity of form that made Monet’s water lilies timeless.