In the seventies while living in Philadelphia I spent a lot of time at the Philadelphia Museum of Art where I first saw Pierre Roy’s Metric System.
Like a sinister joke, or a self-destructive one, the work makes us laugh and question why we’re laughing.
In keeping with communist doctrine, he claims that his work glorifies the proletariat…
The snow would be waist high and the temperature freezing or below. Lou would be Eskimo-like…
In Matisse’s View of Notre Dame, a diagonal line reaches out of the pentimenti, which establish the artist’s side of a French window, and spans the Seine.
Her paintings spoke to me in a personal yet enigmatic way. I had yet to experience anything like them.
“Stud”, an exhibition of Billy Al Bengston’s paintings at Venus over Manhattan Gallery this past November, afforded a unique opportunity to see the legendary West Coast painter in New York City. It is clearly a special moment for an artist.
Last week I went to the Met to pick out a painting to write about for Painters on Painting. I had initially thought that I would write about a contemporary work, always feeling that I need to broaden my knowledge of contemporary painting. But then the election happened and I wanted to be in the Met.
I first saw Titian’s Flaying of Marsyas in the winter of 1984. I had moved to Brooklyn from the Bay Area just 5 months before, when I heard the Flaying of Marsyas was at the Royal Academy in London for an exhibition on 16th Century Venetian painting. I quit my job, got a cheap flight and flew over.
A little while ago I went to the Stuart Davis retrospective at the Whitney. I was expecting to like it, and I did. I’ve seen my fair share of Davis’ paintings over the years, and I have particularly fond memories of his solo 1991 Metropolitan Museum exhibition, Stuart Davis: American Painter.
The first Morandi painting that I ever saw was at the Pittsburgh International Triennial Exhibition of 1958. I was a first year art student at Carnegie Mellon University, then called Carnegie Tech.
Charles Burchfield’s landscape paintings are riveting. This painting, Sphinx and Milky Way, with its bat-like shapes, celestial falling stars, deep midnight blue and black center, flowers with faces, and symbolic points of light, pulls me in with a kind of intensity I’ve discovered in few others.