Franklin Einspruch

More Articles by Franklin Einspruch

George Sugarman, Yellow and White, 1967. Oil on Wood, in two parts, 25-1/2 x 35-1/2 x 27-1/2 each. © Estate of George Sugarman, courtesy Gary Snyder Gallery, New York

Take Another Look: Irving Sandler in Conversation with Franklin Einspruch

Friday, September 12th, 2014

“Irving Sandler: Out of Tenth Street and Into the 1960s” is at Loretta Howard Gallery

Grace Munakata, Stones on the Water, 2013. Acrylic, wax pastel on gatorboard, 48 x 38-1/4 inches. Courtesy of Paul Thiebaud Gallery

Lil’ Older Sister Comes Of Age: Miami Before Basel

Sunday, December 8th, 2013

Franklin Einspruch is heading for the beach

Sarah Hinckley, somewhere over 9, 2013. Collagraph and relief print, 26 x 20 inches. Courtesy of Pale Prints

When Hostility Turns Into Mannerism, Subtle Simplicity Offers Respite

Friday, December 6th, 2013

Aqua 13, International Contemporary Art Fair

Angelina Gualdoni, Opening the Gates, 2011, acrylic on canvas, 47 x 52 inches. Courtesy of the artist and Asya Geisberg Gallery.

Oil as Water: POUR at Lesley Heller and Asya Geisberg

Thursday, September 19th, 2013

Is the act of pouring paint free from the shackles of art history?

A.A. Rucci, Conquistador, 2009. Acrylic on canvas over panel, 24 x 24 inches. Courtesy of Coleman Burke Gallery, New York

Structural Weirdness and Stable Harmony: A.A. Rucci

Saturday, December 24th, 2011

His work was seen  in two recent New York exhibitions

Erik Thor Sandberg, Volition, 2011 [detail]. Oil on curved panel, 20 x 88 x 35.5 inches. Courtesy of Conner Contemporary Art.

Miami at a Gentler Pulse

Thursday, December 22nd, 2011

At a satellite art fair, a visitor  takes his cue from a weary dog.

Anne Neely, Mopang, 2010. Oil on linen, 60 x 80 inches. Courtesy of Lohin Geduld Gallery

Waterworks: Anne Neely at Lohin Geduld

Thursday, October 6th, 2011

Neely never allows the sentiment behind a work to turn into sentiment in the work.