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I felt as if I were actually seeing that elusive moment in her perception when the person standing or sitting before her passed from patchwork anonymity into an emergent distinctiveness.
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With her passion for people, de Kooning was by inclination a portraitist. But she was equally drawn to experimental art forms as the Abstract Expressionist movement unfolded before her eyes, inside her very home.
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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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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' 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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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'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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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
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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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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 G
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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 tech
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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. K