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Gerald Davis on Francisco de Goya

In terms of thinking about how to have both a beautiful and innocent subject and not let it veer into Kleenex box pretty-ness, this painting is my guide.

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Naomi Ben-Shahar on Helène Aylon: The “Elusive Silver” Paintings

Aylon experimented with the idea of creating paintings that revealed themselves slowly, while being changeable and elusive like the sky.

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Andrew Cornell Robinson on Linda Griggs and Allen Hansen

In the realm of artistic marriages, the relationship between painters Linda Griggs and Allen Hansen stands as a testament to the enduring power of creative dialogue and partnership.

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Anna Shukeylo on Jane Swavely

That deep maroon/oxide void lures the viewer to step in past the two silver curtains on either side.

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The Journey: Marik Lechner on Dana Schutz

A grotesque, elaborate stage. The genius promiscuity of a witch painter, with turpentine instead of blood flowing through her veins.

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Tony Robbin on Andrea Pozzo

Pozzo states, “Perspective is but a counterfeiting of the truth, the painter is not obliged to make it seem real from any part, but only from one determinant point only.”

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Sandra Eula Lee on the Reflecting Pond

These garden hacks were made for contemplation, a claiming of space from the in-between.

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Alina Tenser on Olga Balema

As my vision narrows in on one, I start to see the shimmering edges of other pieces populating.

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Josh Dorman on Jordi Marlet

Marlet told me he “met that bear in Denver, traveling across the U.S. by train."

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Elizabeth Johnson on 'The Cynnie Paintings' by Carol Saft

Her dark dress shimmers in the chilly bathroom suggesting Joan of Arc, in chain mail, before a Zoom battle.

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Marissa Sher on Sam Cannon

She was erasing herself physically into an expressionless avatar

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Barry Nemett on Pat Steir’s Dysrhythmic Downpours

Then there’s that lone, feathered creature from a soggy flock — a hood ornament of a jittery bird facing jittery geometry.

6/23/22 6/23/22

Heide Fasnacht on David Diao and the Squeegee in the Expanded Field

An innovation is alive and mutable as it passes from hand to hand.

6/15/22 6/15/22

Alison Kruvant on Hedda Sterne

She saw New York as a “Surrealist” city. With its unfathomable density, extreme juxtapositions, and collective lack of sleep, the city hasn’t changed much.