At a wall-to-wall packed opening at the Grey Art Gallery, photographer/ filmmaker / musician John Cohen held court in front
Dolby Chadwick Gallery in San Francisco strikes me as being the epicenter of discombobulation. Two of the artists that show
This ambitious overview is a warm, paint-stained handshake and a grateful, standing salute to past award-winning innovative performances in a supportive role by pioneer picture makers. At the same time, it is a inquisitive and delightful investigation.
For many years, women artists and writers did their best to keep up with the guys. When the feminist movement came along, they resented being lumped into a category that defined them as "women artists." Helen Frankenthaler, a painter who is having a seriously revitalized pop culture moment, was among those who also resisted this label.
Her positivity could be a result of a childhood spent roaming around Hawaiian islands. It could be a culmination of a post college, mind-altering, backpacking trip through Europe and the immediate triumph of the harsh corporate world following.
Thinking is not always associated with abstract expressionism. After all, the technique was called "action painting" and it's quarterback, Jackson Pollock, was intentionally or unintentionally rough around the edges.
Tony Scherman is a painter's painter, because other painters who paint with a seriousness of purpose immediately recognize in his distinctive work a high command of skill, idiosyncratic maturity, captivating inventiveness, and an obvious love of picture-making.
When Willem de Kooning was a struggling young artist and needed money, he would frequently sell a painting or sculpture as
Fifty years. Nine hundred artists. Two thousand grants. At its most succinct, this is the story of the Foundation for Contemporary Arts (FCA), the unique and timeless organization established by Jasper Johns and John Cage in 1963.