Maybe a sense of belonging is a thing of the past, a sign of privilege.
It seems to me that Soutine’s complete lack of interest in the cubists’ desire for order was exactly what appealed to de Kooning.
After finding success in England, Forge walked away from everything he knew how to do and started over.
Paint’s materiality has a capacity to release meaning into the work, to underscore our vulnerable bodily presence in the world and time.
Emily Pettigrew and Aubrey Levinthal are two painters who have much in common, but their differences run deeper and are more telling.
If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
Alyse Rosner is grappling with the question of how to make an abstract painting reflect both the personal and collective.
Jason Stopa’s desire to infuse his paintings with joy mixes sophistication and innocence without privileging either one.
Just three years after he first devoted himself to art, Wong assembled an abstract vocabulary to create an entire world that is parallel to ours.
Rather than identifying with a style or brand, Klaus Kertess was remarkably independent in his choices, and was not averse to risks.
Winters’s art is about decisions, choices, quality of attention, the shaping of one’s existence in time.
There is nothing subtle about Gu’s work: it is in your face because the racism he encounters is always there.