11/17/14 11/17/14

Brenda Goodman on The Guston Curse

The color was not Guston, the shapes were mostly not Guston, and the paint handling was certainly not Guston but people still had to say--“Oh I see Guston in there.”

11/10/14 11/10/14

Doron Langberg on Jess

When I saw “The Enamored Mage” in person I was completely transfixed. Painted with heavy impasto, the protrusions of paint gush out of the surface, some following the image, some swelling under it.

10/13/14 10/13/14

Virginia Wagner on Wangechi Mutu

It was a Lord of the Flies summer. I was coming from an undergraduate art program that served only to nurture the special seed...

10/6/14 10/6/14

Julie Heffernan on Angela Dufresne

A hot/cold interior, a crimson stage in the middle of a veiled blue vault, one lone, naked lady, tiny in scale but lit up—the lightest thing in the room-- presiding over a vast and louche lounge.

9/25/14 9/25/14

Carrie Moyer on Elizabeth Murray

At the time the existence of this intelligent, vivacious woman painter was as inspiring and important to me as the paintings themselves.

9/18/14 9/18/14

Elaine S. Wilson on Sandra Stone

It is a quiet painting, although we can hear the voices of women calling to each other as they work, the sound of a news announcer on the radio, or a song, perhaps a finch in its cage singing, and the background throb of a pigeon from the rooftop.

8/28/14 8/28/14

Robin Williams on Sylvia Sleigh

Her pieces seemed indifferent to the visual hierarchy that defines space, distance, or remove. Sleigh’s eyes were an equalizing force and connected her with her subjects in a way that felt personal and political.

8/14/14 8/14/14

Judy Glantzman on Dawn Clements

Dawn Clements’ giant watercolor on paper, capturing dying peonies, is achingly beautiful. Her touch is light, her eye, and hand in a lock step; the drawing is a placeholder for where the peonies once were.

8/7/14 8/7/14

Deborah Oropallo on Marcel Duchamp

What I discovered viewing that piece at 15 is that the experience of standing in front of great art always does the same thing to me: stops me in my tracks, points out my own limitations as to what I thought was possible in Art.

7/31/14 7/31/14

Robert Berlind on Sigmar Polke

Has anyone pushed the attitude of anti-art so relentlessly? Beyond attacking notions of esthetic unities and good taste, he seems to intentionally abjure coherent communication.

5/29/14 5/29/14

Christopher Stackhouse on Leland Bell

Bell fosters belief in the moments the painting captures and makes legible the emotional, intellectual tenor of his aesthetic.

5/1/14 5/1/14

Virginia Wagner on Anselm Kiefer

I am alone, I put the ash flower; in the glass of ripened black, sister mouth; the word you speak lives on before the windows; and silent climbs me, just as I had dreamt.

4/24/14 4/24/14

Barry Nemett on Antonio López García

Antonio López García's painting of a bathroom fixture imprinted itself in my art-schooled heart, and all these years later, its mark hasn't faded.

4/17/14 4/17/14

Zachary Wollard on Max Beckmann

Side by side, they employ a breathtaking collagist grace. It’s as if a larger, epic painting from the 19th century has swallowed a Dadaist sleeping pill.