Cats, dogs, and a parrot with a personality are among the works on view in Alice Neel: Feels Like Home at the Orange County Museum of Art.
Despite the size and scope of the Alliance, and the involvement of figures like Neel, the group has been virtually lost to art history.
Alice Neel: People Come First yielded a work I had never seen and that I will never unsee.
Neel’s approach defied the conventions of both schlocky social realism and traditional portraiture.
This season of the Recording Artists podcast, hosted by Helen Molesworth, explores what it has meant to be a woman and artist through the lives of six iconic artists.
After Safariland, if you need to convince yourself that the art world isn’t entirely in money’s thrall, you’d want to be anywhere but here.
2017 was a strikingly strong year for all kinds of figurative representation and portraiture: contemporary, midcentury, imagined, caricatured, oil-painted, and drawn.
The exhibition at David Zwirner gallery features five decades’ worth of Neel’s paintings and drawings of people of color.
Joan Semmel has created a distinctive body of work largely centered on painted images of her own body.
I realize that I’m coming late to the party with Unfinished: Thoughts Left Visible, one of the three debut exhibitions of the Met Breuer, and I have little to add to the conversation about the fundamental problem with the show.
At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum of Art’s chairwoman for modern and contemporary art, said that “arguably only the Met” could put on a show like Unfinished: Thoughts Left Visible.
Like her paintings, Alice Neel’s watercolors and drawings, now showing at David Zwirner, wobble and tilt out of proportion, only more so.