It seems to me that Soutine’s complete lack of interest in the cubists’ desire for order was exactly what appealed to de Kooning.
If there is a single point of agreement in the posthumous literature on Chaim Soutine, it is that the Lithuanian-born Jewish artist is surrounded by legend.
Ivan Albright represents a deeply transcendent, even Platonic, idea of the soul, although one could be forgiven for missing it among the mercilessly unglamorous bodies of his figures.
The Jewish Museum hosts a conversation about Soutine’s gestural painting and still lifes, moderated by Hyperallergic’s John Yau.
At best, All Too Human shows well known artists at an intriguing new angle and revisits lesser known names, but at worst makes some perplexing curatorial choices which defy its own set of rules, stretching relevance through some optimistic inclusions.
Tamara Kostianovsky’s exhibition at Y Gallery features sculptures of butchered fowl made from salvaged fabric.
MIAMI — With Soutine in mind, and the world’s best galleries around me, I culled a few great works by mostly 1950s US artists that have Soutine in mind.