In these paintings, as in so much of Porter’s work, American loneliness coincides with American leisureliness, often uneasily.
Connors has arrived at a synthesis of what, up until now, has been a stylistically identifiable but rather diverse output.
Porter’s paint handling was gestural but exacting, never fancy, and always attending to the experience of looking.
I was at Catching the Light, Lois Dodd’s retrospective at the Kemper Museum of Contemporary Art, the August day I got the news that critic Robert Hughes had passed away at Calvary Hospital in the Bronx, New York. For many, myself included, Hughes’s prose did for art criticism what Shakespeare did for the stage. Hughes was sound and fury, speaking in a booming voice while just barely opening his mouth.