Archives: Contemporary
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.
Brandi Twilley on Lynette Yiadom-Boakye
… Even as invented portraits, they have that quality that “someone is home.”
Brendan Carroll on Kamrooz Aram
He has skirted being defined by tradition, modernism or post-modernism by replacing theory and ideology with personal expression.
Tom Levy on Hans Hartung
But with Hartung it felt different. He did what I am currently trying to do.
Claire Scherzinger on Kelly Richardson
…Her work is a portal for the viewer to step into as the room transforms into a theatre of the mind.
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…
Elizabeth Neel on Francis Bacon
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.
Construction and Erasure: Matt Bollinger on Narrative in Catherine Murphy and David Byrd
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.