Kelly’s collaged postcards provide an awareness of both his sense of humor and his sense of place.
Spilling Over: Painting in the 1960s at the Whitney Museum expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.
In her new book, The Love of Painting: Genealogy of a Success Medium, critic Isabelle Graw ruminates on how painting remains omnipresent within the contemporary capitalist system and digital economy.
The stamps feature tiny reproductions of ten paintings by Kelly, one of America’s great 20th-century abstractionists.
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Kelly’s early sketches of the natural world would define his work across mediums and throughout his career.
Ellsworth Kelly’s striking work in lithography from the mid-1960s is presented along with two monumental paintings from the Museum’s collection. Through October 29, 2018.
“I’ve always lived in the present tense, and I like my paintings to be in the present tense,” Ellsworth Kelly begins his interview with the San Francisco Museum of Modern Art (SFMOMA) in 2013.
Any exhibition of Ellsworth Kelly’s art is a bittersweet event following the artist’s recent death, a postmortem reflection on a masterful legacy.
When art world luminary, Ellsworth Kelly, died in December at the age of 92, his obituaries described him as an artist who rejected the very idea of art as self-expression.
Ellsworth Kelly, one of the most strident pioneers of abstraction and minimalism in the United States from the 1950s onward, has died at age 92.
PARIS — During springtime in Paris, one frequently meets beaming American newlyweds on their honeymoon.