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Patrick McDonough on Benjamin Edwards
Entering the studio with “Justin” was an unforgettable kind of magic, like passing through a Super Nintendo game portal where the colors and the physics forever change.
Barry Nemett on Robert Rauschenberg
All looked pleasant enough near the foot but, like a dramatic plot twist, everything closer to the bed’s head looked war-torn, tortured.
Heide Fasnacht on Martin Kippenberger
The gizmo he depicts with slapdash but accurate strokes of orange and red is reasonable, yes, but dissolves into the vagaries of emotional weather; it does not add up to the logical structure it pretends to be.
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.
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.
Julian Kreimer on Andrea Belag's Sunday Painter
The newest paintings convey a lot of those--the lightness that attends letting go, the playfulness and humor that comes when one is attentively waiting, waiting.
Azita Moradkhani on Louise Bourgeois
The tension between the bodies of mother and child builds up until the moment of physical separation with the delivery of a new entity in the world. Bourgeois depicts that moment using transparent skins of juicy crimson.
Brenda Goodman on Her Work in Stages
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
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.
Wendy Letven on Simona Prives
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
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.
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.
Brian Alfred on Jo Baer
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.
John Michael Byrd on Kelli Scott Kelley
To my eyes, this is a love letter to the maternal archetype—the maternal ideal.
Yvette Gellis on Katharina Grosse
Then there is the color itself - the purity of color and the psychological effects that pure color can have not only on the eye, but also on one’s emotional states and well-being.
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.
Johanna Robinson on Maria Lassnig
... she only painted the parts of her body that she could physically feel in the moment...
Sam McKinniss on Aaron Zulpo
...the evidence of his happiness made me happy, and for that I was grateful.