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Leila Seyedzadeh’s color palette evokes the specific history of the Iranian school of Shiraz, (1256-1353) which is known for its lyrical palette and the romantic narratives of Miniature Painting.
Young women’s yearning to regain their lost childhood without losing the sexual freedoms gained in the new independence is perfectly symbolized in Yuskavage’s images.
This giant moon-blossom zings a beam straight into my forehead, lasering a third eye that I didn’t know I had before.
Leila Seyedzadeh’s color palette evokes the specific history of the Iranian school of Shiraz, (1256-1353) which is known for its lyrical palette and the romantic narratives of Miniature Painting.
I still hold a bodily memory of the landscapes which Kiefer depicted, and I felt the paintings in my gut as much as I saw them with my eyes.
We are Lot’s wife, who, because she turned around to look at the landscape aflame, was destroyed.
The painting’s frozen, dark stillness leaves us forever anticipating what may emerge from the night.
Sometimes Wong’s figures read as self-portraits of past selves and other times as variants on a type. They split and haunt each other.
It doesn’t take much to see de Kooning’s drawing practice as a kind of writing—his own graffiti ‘throwie’ made of letterforms, shorthand, and asemic writing.
These paintings have a sonic effect... They hum with a kind of white noise.
I recognized it right away as a kind of sacred object. Progenitor is a powerful piece that feels at once ancient and technological.
The subject of penitence… became an excuse to paint the very flesh of the world.
I learned a great deal from Mr. Sloan when I was a student of his at the Pennsylvania Academy of the Fine Arts in Philadelphia.