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Elizabeth Johnson on 'The Cynnie Paintings' by Carol Saft
Her dark dress shimmers in the chilly bathroom suggesting Joan of Arc, in chain mail, before a Zoom battle.
Marissa Sher on Sam Cannon
She was erasing herself physically into an expressionless avatar
Alison Kruvant on Hedda Sterne
She saw New York as a “Surrealist” city. With its unfathomable density, extreme juxtapositions, and collective lack of sleep, the city hasn’t changed much.
Heide Fasnacht on Jack Whitten and Gerhard Richter
Gerhard may be the Jack of all Trades but Jack was the King.
Lara Allen on Anselm Kiefer's 'Die Ordnung der Engel'
It once hung in the Chicago Art Institute but now is a blurry electrical field full of crackles and pops behind my eyes.
Lincoln Perry on Frank Auerbach and Marino Marini
This wasn’t a decapitated head, but a self-sufficient object, as autonomous as a meteor.
Kyle Staver on Janice Nowinski
The staccato of the surface gives me the mph of the wind on the beach that day.
Stephen Benenson on Goya and Picasso in Madrid
It was as if the life in them burned up like cellulose melting in a projector.
Maria Porges on Looking for the Lodestar
I have everything I need, except the lodestar that has gotten me this far, in a life that has revolved around art.
Anne Harris on Nowinski and Williams: Looking In and Out
These two artists represent my dilemma: private vs. public, personal vs. political.
Peter Williams on George Floyd and Art Not in Isolation
I never felt in isolation; there was a life I needed to address.
Haley Josephs on Alice Neel
I felt the awkward little girl in me stirring, a sense of vulnerability recognized and transformed into a different kind of power by this painting.
Raoul Middleman on the Master of the Osservanza Triptych of St. Anthony
Their separate egos are hereby erased when the two saints conjoin in an embrace, which echoes the cave behind them, a cosmic hug of sorts, clinching the final humanistic coda of this panel.
Ali Miller on Dante Gabriel Rossetti
Alexa Wilding fluctuates between a confident and seductive nymph, a stiff and unamused model, and a vulnerable damsel awaiting a rescue.
Mariel Herring on Chuta Kimura
Imagine if de Kooning and Matisse painted a landscape together, and maybe Bonnard was their professor/mentor? That’s ya boi Kimura.
Lydia Pettit on Henry Taylor's "I became . . ."
Overall there was chaos in his figure, strokes sometimes lining up with the form, and sometimes going against the logic of the body.
Patrick McDonough on Benjamin Edwards
Entering the studio with “Justin” was an unforgettable kind of magic, like passing through a Super Nintendo game portal where the colors and the physics forever change.
Barry Nemett on Robert Rauschenberg
All looked pleasant enough near the foot but, like a dramatic plot twist, everything closer to the bed’s head looked war-torn, tortured.
Jessica Stoller on the Sévres Breast Bowl
The dairy she created allowed her to demonstrate her political agency while intertwining ideas related to femininity, nature and health.
Jane Irish on Karen Kilimnik's Programme of Humour
She has a beautiful hand that is ruled by a fairy, but sometimes a demon gives her a stick to paint with.