Tim Keane

Joan Miró in front of his painting,

How did postwar New York painting influence one of its foremost European progenitors? This question is posed as a partial rationale for Nahmad Contemporary’s current show Joan Miró: Oiseux Dans L’Espace.

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Ed Sanders

In early 1966, following a New Years’ gig by his folk-rock band, the Fugs, the poet Ed Sanders woke up to find that his Peace Eye Bookstore, then on East 10th Street, had been raided by the NYPD.

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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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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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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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