Painters on Paintings is a conversation between contemporary artists and their influences across time.
The first time Katherine Bradford came to my studio I thought she was messing with me. I had recently graduated from Yale’s painting program and was feeling pretty down with a bad case of post grad school malaise.
In a culture where women have been infantilized and made to be dependent for so long, the necessity for women to suddenly become independent and responsible can be daunting. Young women’s yearning to regain their lost childhood without losing the sexual freedoms gained in the new independence is perfectly symbolized in Yuskavage’s images.
How did I manage to get to the great museum on the parkway, perched like a castle above the two rivers?
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.
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.
There’s an unabashed honesty in the way Henry Taylor paints a picture.
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.
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.
Over and over again, the sky changed: until it was brand new. Or I was.