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I didn’t know it then, but I was also being formed by a postmodern sensibility: the cheap up against the pricey, the shiny against the dusty, the high, the low, the fast and slow.
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.
I didn’t know it then, but I was also being formed by a postmodern sensibility: the cheap up against the pricey, the shiny against the dusty, the high, the low, the fast and slow.
Kadokura sees himself as a resident of that "otherworld" and identifies as a trickster.
Imagine these men walking into a room with their emblemata fully intact.
This abstraction seems simple, but the composition and use of space are complex.
In the half-pleasurable trance of a hangover, I found myself transported to the Middle Ages through the porticos and castles, archways and terraces that frame the action of the paintings.
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.
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.