SEARCH THE ARCHIVE
KEYWORD
CATEGORY
Fabian Marcaccio on Jasper Johns
His flags and maps from the 50s are great but this painting shows, in a humble way, all of the doubts, questions, and ambiguities he had about America.
Tony Ingrisano on Yukinori Yanagi
Looking back, I am amazed that I was attracted to them at all; my tastes skew towards the insanely complicated and these pieces were really just simple line drawings.
Emily Noelle Lambert on James Turrell
After a long winter and a cool spring, I find that my inspiration stems from color, arresting me and connecting me in time.
Lauren Gidwitz on Édouard Vuillard
Every time I visit the Metropolitan Museum of Art in New York I spend at least thirty minutes with Album, by Vuillard. It continues to fascinate me.
Benjamin Britton on Julie Mehretu
I decided to write about Mogamma (A Painting in Four Parts): Part II by Julie Mehretu. Although I’ve followed her work for a while, it has become the piece of hers I have seen in situ the most.
Alexandria Smith on Laylah Ali
I first came across Laylah Ali's paintings in graduate school and immediately felt enamored. Her works were refreshing and filled me with validation.
Tony Robbin on Joyce Kozloff
Joyce Kozloff’s If I Were an Astronomer (Tasman), 2014, has a magical, rich, nocturnal silver-blue light that unifies the work and allows an exuberance of imagery to be seen as a whole.
Ed Valentine on Ivan Albright
The first time I saw an Ivan Albright painting was as a sophomore art student, in an art history class at The Columbus College of Art and Design. That was 1970.
Barry Nemett on Honore Daumier
My son's breath warmed my neck as I lost myself in the wrinkle of his wrist. Blackness. Quiet. Then the skeleton.
Gaby Collins-Fernandez on Frederick Edwin Church
“Our Banner in the Sky” is a painting made almost entirely of belief, which is why I liked it at first sight, in reproduction no less, advertising the Met’s 2013 Civil War and American Art exhibition in a newsletter.
Jo Smail on Pietro Perugino
Turn left outside the Jules Maidoff Palazzo in Florence†, walk to the first traffic light, turn left and walk up the hill until you reach via della Collona. Go right, soon you will arrive at # 9.
Elizabeth Glaessner on Karin Mamma Andersson
I discovered the work of Karin Mamma Andersson as an undergraduate while scanning art magazines in the library.
Matt Bollinger on Gregory Gillespie
In Self-Portrait on Bed, made in 1973-74, Gregory Gillespie paints himself as a not-quite young man, some years older than I am as I write this. He sits on a mattress that sags toward the floor.
Dotty Attie on John Auguste Dominique Ingres
Of course I never could draw like Ingres, much as I wanted to, but the fact that my father admired him so much made me admire him, too.
Meena Hasan on Robert Gober
I recently visited Robert Gober’s The Heart is Not a Metaphor at the MoMA, and at the core of the exhibition was a dark room with Gober’s Slides of a Changing Painting.
Barbara Friedman on Lisa Yuskavage and “Harnessing Shame”
“Okay, go ahead and look all you want, but it's going to be unpleasant for both of us.” - Lisa Yuskavage in an interview with Mónica de la Torre in Bomb magazine[i]
Dennis Congdon on La Pittura di Giardino
On my second trip to Rome I came upon the frescoes of Livia’s Garden Room, an experience for which I was, to say the least, unprepared.
Anoka Faruqee on Bridget Riley
Bridget Riley described the experience of viewing her paintings as an “active, vibrating, pleasure,"[i] and was surprised and annoyed that others considered her work painful to look at.
Susanna Coffey on Pierre Bonnard
Pierre Bonnard’s painting The Terrace at Vernonnet in The Met appears to be a scene of domestic tranquility and pleasure but if one looks more closely it might give pause.
Margaret Atkinson on Louise Fishman
In my memory the painting is titled, “Me and Joe.” It is small, maybe ten by fourteen inches. I am looking at the painting from behind the backs of several classmates who stand clustered around it.