“If I have to be discarded, let it be in the beautiful green space of this painting.”
“It was like realizing your parents have a life outside of you and you’re not a kid anymore.”
“When times are dark there is the inclination to want to give up. But the Dark Ages led to the Renaissance.”
“I used to think art was an escape from the grind of daily life, but this work tells me it might be more of an inoculation — pieces of the world absorbed in small amounts so we can go out and live in it.”
“Sometimes we’re so overwhelmed in the present that it seems impossible to think a future beyond it – but the work of imagination must always continue.”
“How is art to react? By persisting in its freedom.”
“It is intriguing, what the mind selects to focus on (or seek refuge in) during a time of crisis.”
“In the midst of a contagion that threatens our way of life, isolates us remorselessly from family and friends, and breeds fear and paranoia, I find these pieces grounding.”
“I have been looking at this painting and receiving relief like a cool drink on a hot day.”
“Ordinarily, I feel a sense of solidarity in isolation with other artists. I feel it even more during our enforced isolation.”
Started in 1871 as an artist sketch club, the Salmagundi Club continues to operate out of the last surviving lower Fifth Avenue brownstone in Manhattan.
In the story of postwar American art, the middle of the country typically gets short shrift. The work coming out of Chicago in the 1960s and ’70s was gleefully weird, darkly surreal, and mostly figurative; for that, it was mostly overlooked, along with its practitioners. One of the biggest and most influential of those was Ray Yoshida.