8/27/20 8/27/20

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.

5/21/20 5/21/20

Judy Glantzman on Obituaries and Shadows | Art in Isolation

I have been painting portraits from obituaries on poured plaster/acrylic plaques since the pandemic began.

2/17/20 2/17/20

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.

12/12/19 12/12/19

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.

11/23/19 11/23/19

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.

7/1/19 7/1/19

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.

2/5/19 2/5/19

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.

12/29/18 12/29/18

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.

7/12/18 7/12/18

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.