Painters on Paintings is a conversation between contemporary artists and their influences across time.
Known primarily for his nearly unparalleled work in engraving and woodcut (and I say unparalleled because it is equal in every way to any painting or drawing), Albrecht Dürer managed to…
I know its an absurd statement to say – “Masterpiece” or “Greatest Painting Ever Made”. It’s obscene, and not in a good way, I admit this.
Misreading pleases me almost as much as mishearing. The read or heard phrase arrives into consciousness seeming to belong to someone else…
In Matisse’s View of Notre Dame, a diagonal line reaches out of the pentimenti, which establish the artist’s side of a French window, and spans the Seine.
Her paintings spoke to me in a personal yet enigmatic way. I had yet to experience anything like them.
“Stud”, an exhibition of Billy Al Bengston’s paintings at Venus over Manhattan Gallery this past November, afforded a unique opportunity to see the legendary West Coast painter in New York City. It is clearly a special moment for an artist.
Last week I went to the Met to pick out a painting to write about for Painters on Painting. I had initially thought that I would write about a contemporary work, always feeling that I need to broaden my knowledge of contemporary painting. But then the election happened and I wanted to be in the Met.
I first saw Titian’s Flaying of Marsyas in the winter of 1984. I had moved to Brooklyn from the Bay Area just 5 months before, when I heard the Flaying of Marsyas was at the Royal Academy in London for an exhibition on 16th Century Venetian painting. I quit my job, got a cheap flight and flew over.
A little while ago I went to the Stuart Davis retrospective at the Whitney. I was expecting to like it, and I did. I’ve seen my fair share of Davis’ paintings over the years, and I have particularly fond memories of his solo 1991 Metropolitan Museum exhibition, Stuart Davis: American Painter.