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.
… she only painted the parts of her body that she could physically feel in the moment…
…the evidence of his happiness made me happy, and for that I was grateful.
… Even as invented portraits, they have that quality that “someone is home.”
He has skirted being defined by tradition, modernism or post-modernism by replacing theory and ideology with personal expression.
But with Hartung it felt different. He did what I am currently trying to do.
…Her work is a portal for the viewer to step into as the room transforms into a theatre of the mind.
…her cast of characters played out dramas on a stage that is both circus and life as she knows it…
Regarding the Other in horror and finding that Other in myself, it’s impossible to look at “Study of a Baboon” and not be sucked into a vortex of abjection and a struggle for empathy.
While both Murphy and Byrd use form as a means to make narrative works, they also create paintings that exist on a spectrum between solidity and erasure.
The cool confident stare of Marshall’s “Nat Turner” speaks directly to me as a painter, saying to accept without regret the task at hand and rewrite the master script of possibility.
Like art, the garden represents an insertion of personal idiosyncratic thought into a campus landscape designed to represent power, prestige, order, unity and corporate structure.