I soon discovered that this gentle, wary, vulnerable man of 75 possessed a will of steel.
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.
The artist Stanley Lewis draws and paints the landscapes closest to him, places where he works, teaches, and travels like nearby lakes and roadsides in Chautauqua, New York, or his backyard and studio window views in Leeds, Massachusetts.
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
Leon Kossoff’s paintings can be counted among the vanishing breed of artworks whose comprehension is entirely dependent upon being in its physical presence.