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Anthony Cudahy on Lily Wong
Sometimes Wong’s figures read as self-portraits of past selves and other times as variants on a type. They split and haunt each other.
Astrid Dick on De Kooning’s Late Paintings: NY Hip Hop, Lettering, and Expressionism Interrupted
It doesn’t take much to see de Kooning’s drawing practice as a kind of writing—his own graffiti ‘throwie’ made of letterforms, shorthand, and asemic writing.
Leslie Wayne on Jack Whitten and the Greek Alphabet Paintings
These paintings have a sonic effect... They hum with a kind of white noise.
Michelle Hinebrook on Kay Dartt
I recognized it right away as a kind of sacred object. Progenitor is a powerful piece that feels at once ancient and technological.
Approaching the Landscape: Dylan Vandenhoeck on Joachim Patinir
The subject of penitence… became an excuse to paint the very flesh of the world.
Joanne Greenbaum on Lucio Fontana
Fontana’s work feels perfect in its contradictions: Wanting to be pure and then destroying that purity.
Lily Morris on Dustin Emory
“The figure seems to emerge holographically from the surface like a lost energetic god in a desert of hermetically sealed domesticity.”
Heidi Howard on Alice Neel
Neel’s paintings are a guide to reading through paint. She employs color like a true tetrachromat.
Kim Stanley Robinson and David Brody on the Chauvet Caves
The “mistake” opens up an unexpected world of visual puns and syntactic ambiguity: Maybe it is both a single animal in motion and four separate horses.
Sarah Davidson on Otto Marseus van Schrieck
Van Schrieck bent nature to fit his vision of it.
Xico Greenwald on Diana Horowitz
Here the artist’s eye and hand are alive to the scene before her.
Heide Fasnacht on Donna Moylan
All this arboreal inventiveness seems right for this juncture of the Anthropocene, an exaltation at a time when we may all be called upon to reinvent the landscape.
Patricia Miranda on Shilpa Gupta
The paper – white, ghostly, struck through its heart, floats in space like the upturned body of an impaled fish.
Sandow Birk on John Trumbull
Then I found John Trumbull – a stumbling American colonial painter who was also in awe of the great European painters.
Kathy Butterly on Howard Hodgkin
Howard Hodgkin’s paintings pull me in like nature does, like those moments in my backyard did.
Shiri Mordechay on Frank Auerbach
The marks remind me of automatic writing, as when the hand moves fast across the page and all of the sudden a thought snaps into consciousness.
Joy Taylor on Romare Bearden
He created utterly flat but paradoxically deep space, too, inhabited by dignified characters of mythical stature from scraps of colored paper, torn and ink-stained prints, bits of fabric, and parts of magazine imagery.
Keren Benbenisty on the Map of Tender
The land of indifference was not that far from the land of love.
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.
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.