Precisely nowhere by Edith Newhall (Philadelphia Inquirer June 17, 2012)

Josette Urso's oil paintings on panels conjure things and places in her real life quickly and democratically jotted down, but without a there there. The mutable areas between her gestures, lines, and scaffolding-like shapes suggest the time, as much as the physical space, that lies in between each observance.

I like Urso's paintings that come closest to expressing a single moment and locale, such as her tiny City July 4th, a taupe-and-gray-dominated painting that captures a typically hazy summer evening in New York, and Yaddo Pale Green, its Arcadian opposite.

 above: Yaddow Pale Green and City July 4th