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Elizabeth Neel on Francis Bacon
Regarding the Other in horror and finding that Other in myself, it’s impossible to look at “Study of a Baboon” and not be sucked into a vortex of abjection and a struggle for empathy.
Construction and Erasure: Matt Bollinger on Narrative in Catherine Murphy and David Byrd
While both Murphy and Byrd use form as a means to make narrative works, they also create paintings that exist on a spectrum between solidity and erasure.
Trenton Doyle Hancock on Kerry James Marshall
The cool confident stare of Marshall’s “Nat Turner” speaks directly to me as a painter, saying to accept without regret the task at hand and rewrite the master script of possibility.
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.
Between Her Garden and the Studio: Jessica Stockholder on Laura Letinsky, Part II
Like art, the garden represents an insertion of personal idiosyncratic thought into a campus landscape designed to represent power, prestige, order, unity and corporate structure.
Between Her Garden and the Studio: Jessica Stockholder on Laura Letinsky, Part I
The gap between gazing through the window that turned the yard into something picturesque, and being in the yard with dirt under my fingernails, can be understood as one subject of my work.
Painting is Undead: The Iconography of Anne Imhof, By Dil Hildebrand
...when performing actions they do so with zombie-like disaffection like flies stunned by a bug lamp, jerking sporadically into and out of states of repose.
Julie Heffernan on Pierre Bonnard: Part II
Bonnard is no easy reach. The challenge he sets for all narrative painters is formidable: how to use both understatement and wild speculation to tell a bold story well...
Julie Heffernan on Pierre Bonnard: Part I
Bonnard’s was a revolution in subject matter, turning a dining room table into a phantasmagoric carnival and a woman at her toilette into a primal spectacle...
Riad Miah on Amanda Church
If we were to think about the image in terms of language, it would be a noun or a verb.
Keiran Brennan Hinton on Michael Stamm
The thin screens of constructed space, which I wade through at a sluggish speed, feel like the layers of a person you're getting to know.
John Goodrich on Henri Matisse
While I admire Picasso’s drawing, prints and sculpture, Matisse still represents for me the fullest mixture, in the modern age, of discrimination and passion.
Andrew Fish on Henry Taylor
There’s an unabashed honesty in the way Henry Taylor paints a picture.
What's in a Name: Raoul Middleman on John Singleton Copley
How else to paint but to concentrate mercilessly on the singularity of high end realistic focus and finish... rendered to an almighty faultless Metaphysical T.
Tyrants and Artists: Elliott Green on Jenny Snider
This is an instructive demonstration of using the right shapes and shadows to conjure story and character to visualize the contents of psyche and soul.
Barry Nemett: Beholding Bonnard on a Vaulted Altar
Over and over again, the sky changed: until it was brand new. Or I was.
Gary Stephan on Paul Cezanne
Picasso said of Cezanne: "He is the father of us all.” In this essay I want to take the "us" expansively.
Katharine Kuharic on the Pantheon - Part II Richard Dadd
The blade may be in front of the self-portrait of the axe man... but it serves to slice the man into numerous pieces.
Katharine Kuharic on the Pantheon - Part I Ivan Albright
In his mature works the portraits are literally portraits of the walking dead.