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.
Art book lovers of the world will have something to look forward to in Manhattan this summer. Yesterday, Chelsea’s David Zwirner Gallery open its second annual summer pop-up bookstore for a two week run — it closes Friday, August 5.
It’s easy enough to tell that The Believer is a publication from California from looking at the cover of their 2010 Art Issue, much less getting to the table of contents. A 70s psychedelic mashup of art icons, a John Baldessari suited figure, a dinosaur figurine, and a Picassoian acrobat by Clare Rojas march up a ray of red and yellow light into … the mouth of a skin-less human body? New York this is not.
Famously co-edited by Vendela Vida, writer spouse of writer wunderkind Dave Eggers, The Believer is well known for its cutesy tone and off-beat vibe, helped along by its graphic design and a coterie of Californian cultural denizens. None of these are bad qualities in themselves, but when editing an “art issue,” it might be best to start looking outside of the narrow perspective of your own aesthetic.