Anne Truitt: Sculpture 1962-2004 at Matthew Marks Gallery
The ensemble represents a series of very carefully thought-out painting decisions — yet never do the results look cold or calculated.
Even in less jovial days of January, whiteness continues to command powerful associations.
Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.
An exhibition of Boxer’s work runs at Spanierman Gallery through February 18
This essay is an extract from A Memoir of Creativity: abstract painting, politics and the media, 1956-2008 published by iUniverse, 2009. The book unites art theory, politics, journalism and personal memoir. At its heart lies the author’s theory of abstract art, that instead of being non-representational, it constitutes a “multireferential” form of representation.
What most truly characterizes Bush’s mature work is a seriousness, even a gravitas that amounts to a truly Olympian detachment.
I’ve long felt that Peter Plagens and I had a community of interest, as we’ve both written about art for weekly newsmagazines (he for Newsweek, I for Time, having preceded Robert Hughes in that slot). Imagine my delight when I learned last August that Plagens was publishing his second novel, The Art Critic, in 24 installments on artnet! Twenty-four…
The author finds unexpected links between Boepple and the Surrealist phase of Alberto Giacometti
A “pink lady” is a cocktail made with gin, Grenadine, cream and egg white—the gin packs a punch masked by the more ladylike ingredients. The punch in this painting lies in how its image, suggesting (among much else) an orchid and a human heart, boils upward and outward, from its slate-blue core through the billowing peach and fuchsia of its sides to the splattering blast of blue and reds at the top.