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Barbara Friedman on Merging and the “Extreme Middle”
He makes the “I” out to be “a resting zone … a meeting place.”
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.
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.
Heide Fasnacht on Martin Kippenberger
The gizmo he depicts with slapdash but accurate strokes of orange and red is reasonable, yes, but dissolves into the vagaries of emotional weather; it does not add up to the logical structure it pretends to be.
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.
Julie Heffernan on El Greco
El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.
Brenda Goodman on Her Work in Stages
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
Constance Mallinson on Manet's and von Werefkin's Ragpickers
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
Laurie Hogin on Grant Wood
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Aaron Zulpo on Anthony Cudahy
One man is found pulling leaves from a stem, as if counting down time. Another man stares longingly at a pile of petals.
John Michael Byrd on Kelli Scott Kelley
To my eyes, this is a love letter to the maternal archetype—the maternal ideal.
Yvette Gellis on Katharina Grosse
Then there is the color itself - the purity of color and the psychological effects that pure color can have not only on the eye, but also on one’s emotional states and well-being.
David Humphrey on William John Whittemore
I like thinking, though, that the painting makes a complete body out of dispersed heterogeneous parts, a complicated body constrained and subdivided by guardrails, pedestals, canvas edges, bowler hats and neckties.
Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
Alan Feltus on Susan Yanero
...her cast of characters played out dramas on a stage that is both circus and life as she knows it...
Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
Michelle Stuart on Maya Art
They are simple yet complex, erotic yet spiritual, wildly designed yet perfectly rendered to fit both the scale of the object and the place in architecture.