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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.
Lincoln Perry on Frank Auerbach and Marino Marini
This wasn’t a decapitated head, but a self-sufficient object, as autonomous as a meteor.
Barbara Friedman on Merging and the “Extreme Middle”
He makes the “I” out to be “a resting zone … a meeting place.”
Anne Harris on Nowinski and Williams: Looking In and Out
These two artists represent my dilemma: private vs. public, personal vs. political.
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.
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.
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.
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.
David Humphrey on William John Whittemore
I like thinking, though, that the painting makes a complete body out of dispersed heterogeneous parts, a complicated body constrained and subdivided by guardrails, pedestals, canvas edges, bowler hats and neckties.
Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
Alan Feltus on Susan Yanero
...her cast of characters played out dramas on a stage that is both circus and life as she knows it...
Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
Julie Heffernan on Pierre Bonnard: Part I
Bonnard’s was a revolution in subject matter, turning a dining room table into a phantasmagoric carnival and a woman at her toilette into a primal spectacle...
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.
Virginia Wagner on Doron Langberg
We know that, under those rough, hasty marks, the scene exists in all of the intricacies of life.