Tim Keane

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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Post image for As Above, So Below: The Aerial Revelations of Yvonne Jacquette

Reflecting on urban spaces, Italo Calvino writes, “Cities, like dreams, are made of desires and fears […] the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.” Yvonne Jacquette: The High Life, currently at DC Moore Gallery, epitomizes this enigma.

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Post image for Action at an Impasse: Esteban Vicente and the Art of Collage

ASHEVILLE, North Carolina — Esteban Vicente was a lyrical abstractionist whose work over eight decades redefines that category. A current exhibition at the Asheville Art Museum, Esteban Vicente: The Art of Interruption, takes its title from Elaine de Kooning’s insight into her longtime friend’s technique.

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Post image for Languages of Devotion: Basil King’s Life in Art

One day in 1965, as he was walking by St. Mark’s Church in New York’s East Village, Basil King came to a dreadful realization. “You’re a painter,” he told himself, “who’s never been.”

The verdict, which he relates in Learning to Draw / A History (Skylight Press, 2011), was, of course, wrongheaded. King had been making art since he was a boy. Still, he brought it up again during my visit to his brownstone in Brooklyn, where he and his wife, the writer Martha King, have lived since moving from Manhattan in 1969.

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Post image for Hearing the Rhythm of Mass: Nicolas Carone in Jackson Pollock’s House

THE SPRINGS, NY — Jackson Pollock and Willem de Kooning so dominate the creation story of Abstract Expressionism in New York that these two hard-drinking celebrities continue to busy biographers, often crowding out other artists who had the mixed fortune of painting during their twin ascendancy.

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