Wednesday, September 30th, 2015
painting debut of distinguished sculptor, through August 21 ...
Sunday, September 13th, 2015
Installation view, "Helen Mirra" at Galerie Nodenhake, 2015. Courtesy of the artist and Galerie Nordenhake.
The artist discusses her work and her developing approach to its facture. ...
Saturday, September 12th, 2015
Jay Sanders in conversation with Felix Bernstein. Courtesy of Felix Bernstein.
Artist Felix Bernstein describes to curator Jay Sanders his affair with the work and ghost of Jack Smith. ...

Sunday, November 1st, 2009

Johannes Vermeer, The Milkmaid (about 1657–58). Oil on canvas, 17-7/8 x 16-1/8 inches. Rijksmuseum, Amsterdam, Purchase, 1908, with aid from the Rembrandt Society

The Visitor: Vermeer’s Milkmaid at the Met

September 10 to November 29, 2009

Thursday, October 1st, 2009

Mezzetin (Mezetin) 1717-19 . Oil on canvas; 21-3/4 x 17 inches. The Metropolitan Museum of Art, New York, Munsey Fund, 1934 (34.138)

The Roofer’s Son: Watteau at the Met

I don’t know how one can love Watteau without somehow making him one’s contemporary.

Saturday, August 1st, 2009

John Currin. The Hobo, 1999. Oil on canvas, 40 x 32 in. Collection of the Museum of Contemporary Art San Diego, Museum purchase, Contemporary Collectors Fund. Photographer: Pablo Mason.

Paint Made Flesh at the Phillips Collection

Paint Made Flesh at the Phillips Collection, and other shows this summer, reveal a love affair between a material painters use and the material all of us are.

Monday, July 6th, 2009


Alcuni Telefonini: A Collaboration with Francesco Clemente

Features the poems “Bricks,” “Back,” and “Breath”

Wednesday, July 1st, 2009

Friedel Dzubas, Friedel Dzubas, Bornholm, 1978. Acrylic on canvas, 37 x 76 inches. Courtesy of Elaine Baker Gallery for Samuel Minzberg

Multireferential Imagery

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.

Monday, June 29th, 2009

Gustave Caillebotte, The Floor Scrapers, 1876. Oil on canvas, 31-1/2 x 39-3/8 inches. Private collection

Gustave Caillebotte at the Brooklyn Museum


Saturday, May 23rd, 2009

Linda Daniels, Small Square Blue, 2009. Oil on linen, 16 x 16 inches, Courtesy A.M. Richard Fine Art

Linda Daniels at A.M. Richards

Linda Daniels at A.M. Richard Fine Art

Friday, May 15th, 2009

Robert C. Morgan, Veksö III, 1971. Acrylic on paper, 23-¼ x 16-¼ inches, Courtesy Björn Ressle Gallery

Robert C. Morgan at Björn Ressle

Robert C. Morgan at Björn Ressle Gallery

Thursday, April 23rd, 2009

Jackson Pollock, Full Fathom Five, 1947. Oil on canvas with nails, tacks, buttons, key, coins, cigarettes, matches, etc., 50-7/8 x 30-1/8 inches. The Museum of Modern Art, New York. Gift of Peggy Guggenheim; Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY © 2008 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Abstract Expressionism and the American Experience

Professor Sandler locates the aesthetics and values of the New York School within the context of the postwar milieu.

Friday, April 10th, 2009

Fran O'Neil, Reel, 2009. Oil on canvas, 74 x 60 inches

Fran O’Neil at John Davis Gallery

Fran O’Neil at John Davis Gallery