SEARCH THE ARCHIVE
KEYWORD
CATEGORY
Lincoln Perry on Frank Auerbach and Marino Marini
This wasn’t a decapitated head, but a self-sufficient object, as autonomous as a meteor.
Kyle Hackett on Du Bois' Double Consciousness and the Freedom in Portraiture
I have spent about a decade studying W.E.B Du Bois’ concept of double consciousness: the sense of looking at one's self through the lens of others.
Camilla Fallon on the Intimate in Isolation
I thought of the Intimists... and how they make ordinary objects, including cats, absolutely transcendent.
Norm Paris on Max Ernst
This is a portrait of a culture in the late stages of psychic rot.
Ali Miller on Dante Gabriel Rossetti
Alexa Wilding fluctuates between a confident and seductive nymph, a stiff and unamused model, and a vulnerable damsel awaiting a rescue.
Lydia Pettit on Henry Taylor's "I became . . ."
Overall there was chaos in his figure, strokes sometimes lining up with the form, and sometimes going against the logic of the body.
Jessica Stoller on the Sévres Breast Bowl
The dairy she created allowed her to demonstrate her political agency while intertwining ideas related to femininity, nature and health.
Lilian Day Thorpe on Nicolas de Staël
Breaking the natural world down into its basic forms, the painting as a whole evokes a quiet hum.
Julie Heffernan on El Greco
El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.
Wendy Letven on Simona Prives
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
Mark Greenwold on Jack Levine
Greenbergian Modernism... has put nails in the coffins of all sorts of serious and interesting representational artists for most of my lifetime.
Joan Semmel on Lisa Yuskavage
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.