“I would say she was looking at two ghetto children from uptown and bringing out the beauty in us.” [Jeff Neal, on left in the portrait with brother Toby.] (John Leland, “Two Brothers Posed for a Portrait. One Lived to … Continue reading
“roll up your catalogue and view each picture through it. … You will be rewarded with a wonderful suggestion of light and air and sufficient detail, and finish.” So said critic Percy Leason and fellow student of Clarice Beckett (1887- … Continue reading
“As if in preparation, with this deeply human painting he returned to his engagement with the Spanish peasant and, perhaps as important, to making brilliant use once more of the indispensable Spanish colour – black.” (Mark Brown, “National Gallery buys … Continue reading
… Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks… “It is… necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick … Continue reading
“In some ways what I really did was mind the store,” he told The Guardian in 2006. “When I arrived in San Francisco in 1951 I was wearing a beret. If anything I was the last of the bohemians rather … Continue reading
This is the Cubist revolution: Here, for the first time in Western art since the Renaissance, the world as we see it no longer has primacy. The picture is no longer an act of perception. It’s an act of imagination, … Continue reading
Didion once wrote, “Style is character…” Rhetorically, a “this is that” assertion that plops two abstractions around a copulative can be a facile expedient for simulating profundity. Nathan Heller comments that Didion’s observation about style has to do with “the … Continue reading
This gallery contains 1 photo.
Oneis orange, the color of Sunas she sets and rises.Twois blue, a hue Sky fakesfor inattentive irises. Threeis the olivescent greenof a certain stand of tree.Fouris a dour English colour,Marmite and chocolate fudgey. Fiveis alive with unexpected yellowlike engine oil … Continue reading
EthicalDative 
Wide Load
Jason Farrago lavishes a container shipload of exegetical rumination on Julie Mehretu’s paintings. Lines accreted in an essentially radial configuration, with large arcs orbiting an absent central axis, and orthogonal spokes sprouting from the core. (The Mehretu black line is … Continue reading →