Brilliantly colored, covered with decorative motifs and gestural abstractions, the work suggests a gorgeous manuscript, a place where the politics of place and the pain of indifference no longer exist.
Linda Francis, Don Voisine, Joan Waltemath, Michael Zahn at Janet Kurnatowski Gallery, and Jennifer Riley: To Be A Thing In This World at LaViolaBank Gallery
In each picture, there is a sense that the overt structure is a kind of plan for the making of the work, while the work is the exposition of that plan. But, at the same time, the work is more than its own plan.
The complications of scale bring about violent contrasts and juxtapositions, many of which make little evident sense; this is, I think, a metaphor for the anarchy of war, as well as the dishonesty that provided moral cover for those politicians who originally wanted to invade Iraq.
Like some earlier Guggenheim exhibitions, Mark Rosenthal’s 1996 splendid, mindless history of abstraction and the more recent survey Russia! are two examples, The Third Mind presents much great art without a convincing visual premise.
Although the architecture’s physical decay reflects its economic uselessness, such romantic titles as The Guardian of the Valley and Mountain of Nostalgia lend emotional value to these dour and severe scenes. These paintings speak to the failed utopian ideas in Communism.
What most truly characterizes Bush’s mature work is a seriousness, even a gravitas that amounts to a truly Olympian detachment.
For Bonnard drawing was sensation, and taking possession of the image. The next step was the translation of these notations into color, not local color, but the color that came from his interior logic.
As one grasps the combination of flatness, space, and light in Haynes’ paintings, the subtleties of her sophisticated palette and tonal gradations reveal a seductive luminosity.
However closely she references classical, renaissance and modernist genres, her paintings never lapse into nostalgia, but instead give off an arch contemporary emotion.
The painter Barkley L. Hendricks caught not only the mood, but also the dress of black Americans in the late 1960s and early 1970s. Indeed, the subhead of the Studio Museum’s exhibition, “Birth of the Cool,” gives the nod to the development of a style whose casual hipness and intimated militancy marked a generation of African Americans.