Tim Keane

Bill Berkson

“Why should I look at this [art] instead of out the window?” asks Bill Berkson in one of the prose poems from his stellar new collection, Expect Delays.

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Post image for Recurring Waves of Arrival: Elaine de Kooning’s Portraits, from Loft Dwellers to JFK

WASHINGTON, DC – “I was enslaved by portraits.” That’s how Elaine de Kooning puts it to filmmaker Betty Jane Thiebaud to describe what happened after her arduous and rewarding commission to paint President John F. Kennedy’s portrait for the Truman Library.

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Rudolph Burckhardt,

WASHINGTON, DC — While at the retrospective of Elaine de Kooning’s portraiture here at the National Portrait Gallery, I recalled reflections by the late figurative painter Sherman Drexler at his loft in Newark a couple of years ago. “You paint your desire, you paint your passion,” he said.

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Anne Tabachnick,

We usually describe seeing an object by using the past tense: “I saw.” The emphasis on its foreclosed quality can make us forget how open-ended seeing is. The dynamism of a seen object is every bit as charged as our bodies’ initial physiological responses to it.

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GalleriesWeekend

Absolutely Modern: Robert Motherwell on Paper

by Tim Keane on December 13, 2014

Robert Motherwell in his studio

In 1950, when the painter Robert Motherwell invented the phrase “The School of New York,” he summed up its mission as “an activity of bodily gesture serving to sharpen consciousness.”

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Melvin Edwards,

Melvin Edwards’ welded relief sculptures conjure up human anguish and human advancement often within the same work. His art delivers the mythmaking spirit of abstract sculpture into the domain of identifiable histories. He has built a long, wide-ranging career around that apparent incongruity.

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GalleriesWeekend

Rainy Day Woman: Jane Wilson Re-Visions Reality

by Tim Keane on October 18, 2014

Jane Wilson in her studio, 2095 Broadway, New York. January 8, 1999

Some sixty years ago, when she was a young artist involved in the downtown New York City scene, Jane Wilson stopped trying to be an Abstract Expressionist.

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Jane Freilicher in her studio (1984)

Jane Freilicher’s still-life paintings have a large-scale, panoramic quality associated with landscapes. Conversely, her landscapes focus on nature’s compactness and textures so that they convey the intimate solidities of still-life.

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Portrait of Regina Bogat, 52 Division Street, New York City (c. 1961)

Regina Bogat: Works 1967-1977 at Zürcher Gallery marks another milestone in the rediscovery of an artist who has long been hidden in plain sight. Since her start in the 1950s, in a milieu that included abstract artists like Mark Rothko, Ad Reinhardt and her late husband, Al Jensen, Bogat has always played the subversive.

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Post image for Quattrocento on the Bowery: The Collaborative Art of George Schneeman 

Perhaps the most prolific exemplar of free-spirited collaboration from the New York art scene of the 1960s was the painter George Schneeman, the unofficial artist-in-residence of the Poetry Project at St. Marks Church from its earliest days.

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