Fishman had been asking very specific things of her chosen medium: how does one make it relevant to oneself and one’s history? How does one possess it? How do you filter your experiences through it?
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.
Is there anyone in our Manhattan art world who does not know Irving Sandler? Much loved, he is our Vasari, the tireless chronicler who attends every lecture, goes to every show, and knows every artist and critic. In this well illustrated book, a revision of his classic The Triumph of American Painting, he focuses on 1942…
At Sculpture Key West, the artists had only a few days – working in the heat, wind and rain – to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered
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.
Commensurate with their disconcerting depth, Kossoff’s early paintings are literally and metaphorically heavy. The defiant sweeps of brush resemble nothing so much as tire tracks on a sodden road.