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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.
MaryKate Maher on Marlene Dumas and Maja Ruznic
It’s red like memory is red or how, when you close your eyes because the sun is too bright, your eyelids create that deep red shadow.
Elizabeth Johnson on Celia Reisman
Her aloof houses are challenging, seem to have their backs turned to me, the viewer, and transform me into an interloper.
Kyle Staver on Janice Nowinski
The staccato of the surface gives me the mph of the wind on the beach that day.
Peter Williams on George Floyd and Art Not in Isolation
I never felt in isolation; there was a life I needed to address.
Haley Josephs on Alice Neel
I felt the awkward little girl in me stirring, a sense of vulnerability recognized and transformed into a different kind of power by this painting.
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.
Gabrielle Vitollo on Nemesis: The Great Fortune by Albrecht Dürer
When I eventually approached the mirror to throw water on my face, I caught a glimpse of Nemesis striding forward in the same direction.
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.
Ruth Marten on Paul Caranicas
He’s condensed a mall into a theatre set, flattening the rich detail into a sort of Greek chorus to serve the dumb central gun shop.
Katie Miller on 'Young Girl with a Dead Bird'
Pupils dilate when we are happy and contract when we are sad. Inky dilated pupils are attractive, which is why most portraits depict their sitter with sparkling black saucers.
Jane Irish on Karen Kilimnik's Programme of Humour
She has a beautiful hand that is ruled by a fairy, but sometimes a demon gives her a stick to paint with.
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.
Lavar Munroe on Folkert De Jong and Expansive Painting
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
Constance Mallinson on Manet's and von Werefkin's Ragpickers
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
Laurie Hogin on Grant Wood
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Eric Fischl on Max Beckmann’s Departure
The woman and man are eternally bound in a psychopathologically perverse interpretation of yin and yang.
Dear Weather: Buzz Spector on Hobbema, Gainsbourough, & Vermeer
Little popcorn puffs or higher, more distant, cirrus... a shorthand for how the duration of a painting allows for some time.
Aaron Zulpo on Anthony Cudahy
One man is found pulling leaves from a stem, as if counting down time. Another man stares longingly at a pile of petals.