It is not so much what message is narrated or illustrated, but how the form of the painting is questioned in its realization.
Whitney’s paintings at this point seem to embody the transitory.
The disavowal of blighted Brutalist structures is a rejection of the unconditional love of imperfection.
Robert Bechtle’s photorealist pictures of suburban California resist exoticism as much as Delacroix’s paintings of Algerian harems.
Connors has arrived at a synthesis of what, up until now, has been a stylistically identifiable but rather diverse output.
Masters of painting are occupying major venues in New York this winter. Egon Schiele at the Neue Galerie, Matisse cutouts at MoMA. In addition, the rival Picasso exhibitions at Gagosian and Pace are noteworthy, as is Madame Cézanne at the emblazoned, tarnished Met.
What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.
The much-heralded exhibition of Matisse cut-outs currently at the Museum of Modern Art was previously at the Tate Modern, with a few less items than here, but it broke all attendance records and was open all night in its final days.