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Johanna Robinson on Maria Lassnig
... she only painted the parts of her body that she could physically feel in the moment...
Suzanne Stryk on Maria Sibylla Merian
Most alluring to me is her enviable touch—the delicately notched antennae, chomped and curled leaves, or gooey-pale larvae casting shadows as they inch along.
Sam McKinniss on Aaron Zulpo
...the evidence of his happiness made me happy, and for that I was grateful.
Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
Brendan Carroll on Kamrooz Aram
He has skirted being defined by tradition, modernism or post-modernism by replacing theory and ideology with personal expression.
Tom Levy on Hans Hartung
But with Hartung it felt different. He did what I am currently trying to do.
Claire Scherzinger on Kelly Richardson
...Her work is a portal for the viewer to step into as the room transforms into a theatre of the mind.
Alan Feltus on Susan Yanero
...her cast of characters played out dramas on a stage that is both circus and life as she knows it...
Elizabeth Neel on Francis Bacon
Regarding the Other in horror and finding that Other in myself, it’s impossible to look at “Study of a Baboon” and not be sucked into a vortex of abjection and a struggle for empathy.
Construction and Erasure: Matt Bollinger on Narrative in Catherine Murphy and David Byrd
While both Murphy and Byrd use form as a means to make narrative works, they also create paintings that exist on a spectrum between solidity and erasure.
Trenton Doyle Hancock on Kerry James Marshall
The cool confident stare of Marshall’s “Nat Turner” speaks directly to me as a painter, saying to accept without regret the task at hand and rewrite the master script of possibility.
Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
Michelle Stuart on Maya Art
They are simple yet complex, erotic yet spiritual, wildly designed yet perfectly rendered to fit both the scale of the object and the place in architecture.
Between Her Garden and the Studio: Jessica Stockholder on Laura Letinsky, Part II
Like art, the garden represents an insertion of personal idiosyncratic thought into a campus landscape designed to represent power, prestige, order, unity and corporate structure.
Between Her Garden and the Studio: Jessica Stockholder on Laura Letinsky, Part I
The gap between gazing through the window that turned the yard into something picturesque, and being in the yard with dirt under my fingernails, can be understood as one subject of my work.
Painting is Undead: The Iconography of Anne Imhof, By Dil Hildebrand
...when performing actions they do so with zombie-like disaffection like flies stunned by a bug lamp, jerking sporadically into and out of states of repose.
Julie Heffernan on Pierre Bonnard: Part II
Bonnard is no easy reach. The challenge he sets for all narrative painters is formidable: how to use both understatement and wild speculation to tell a bold story well...
Julie Heffernan on Pierre Bonnard: Part I
Bonnard’s was a revolution in subject matter, turning a dining room table into a phantasmagoric carnival and a woman at her toilette into a primal spectacle...
Riad Miah on Amanda Church
If we were to think about the image in terms of language, it would be a noun or a verb.
Keiran Brennan Hinton on Michael Stamm
The thin screens of constructed space, which I wade through at a sluggish speed, feel like the layers of a person you're getting to know.