For Night Room, David Guinn treated the two rooms in the gallery as different parts of the mind.
As much as we might feel that our lives are lived these days at breakneck speed, Bruce Nauman’s work suggests otherwise. “Films,” for Nauman, “are about seeing.”
Color is the organizing principle of Jane Piper’s work, which builds upon the tradition of early Modernist painting.
Bill Scott acknowledges that the Garden of Eden is a fiction, and yet he is willing to paint his versions of that place, not as a way to make that garden great again, but to insist that pleasure is a crucial ideal for survival.
The thing Hollis Heichemer depicts, if we can call it a thing, seems to be visual experience itself.
We may choose to partake of the comfort that Sarah McEneaney’s scenes of domestic tranquility have to offer. Or we may choose to probe deeper.
TOKYO — It’s not often that a major art museum hosts an exhibition for a poet.
PHILADELPHIA — It should come as no surprise that there are many ways one can experience art.
Political campaigns, like Jasper Johns’s painting, “Flag,” are based on dreams.
When Quentin Morris begins a painting the only thing he knows is that it will be black.
PHILADELPHIA – A few months back, in a review of Jan Baltzell’s paintings, I discussed the slippage between representation and abstraction. In one painting, I thought I saw a thumb, and in another I was convinced George Washington’s head was hovering in the upper right corner. This was content the artist didn’t intend.
Instead of filling the heavens with angels and Christian saints, Irish paints predominantly Rococo rooms in which the ceilings are populated with anti-war protestors, political figures such as Lyndon Johnson, and Vietnam War veterans.