In a hybrid text combining criticism and poems Robert Vas Dias explores the paradoxes of still life painting.
The seven years that a Russian Constructivist and his dog moved among British artists by the seaside.
The Museum of Modern Art’s sprawling re-envisioning of Abstract Expressionism, “Abstract Expressionist New York,” inspires a lot of looking. The stately museum’s upper floor galleries, previously dedicated to the slow progress of abstraction in modern art, have been shuffled around to get a better view of exactly how the movement we came to call Abstract Expressionism developed.
It was one particular showing that caught my eye and really caused me to stop in my tracks and rethink where I pigeonholed these artists. Standing sentinel on one back wall were two works that cohered together perfectly, paintings whose muted colors became bright and whose architectonic compositions were like an abstract expressionism slowed down and frozen in time. Upon closer approach, I noticed that the pieces were by Robert Motherwell, an artist I was aware of and respected, but didn’t enormously enjoy. Yet something about these two paintings, “Western Air” (1946-47) and “Personage, with Yellow Ochre and White” (1947) made me reconsider.