diane arbus

"Irreconcilable Images," the current exhibition of photographic images by Kevin O'Leary at Arcature Fine Art in Palm Beach, is a memorable event that examines the curious aesthetic merits of places and people that often display an inherent incompatibility.
During the holiday season, many of us used our smartphones to take pictures and to show family members and friends pictures of events that had occurred during the past year.
I continue to be fascinated at the powerful allure of food-on-a-stick mentality and how it correlates as a predictive quality of an America that insanely seems to have evolved into a politics-on-a-stick nation.
At the time of William Eggleston's exhibition, color was shunned in serious photography circles. Until then photographers used color only for advertising and journalism, and it was widely despised by the mainstream art world of the time.
Little did I know last spring, when I did my first boudoir shoot, that being photographed would become an erotic experience in itself, one that mimics the experience of having sex. There is the phenomenon of getting turned on fantasizing about the upcoming encounter.
I am drawn to painting war because I fear it, I fear losing my life or living without freedom. My parents survived the gas chambers and pogroms in which their families perished. The infinite oscillation between victor and vanquished is as present in our world as it was 2000 years ago.
Marilyn Minter's work is like an explosion of wonderfulness. To be exact, her work is like wonderfulness on steroids, glamour on crack and iconography on cocaine.
"Diane Arbus 1971-1956" is on display at Fraenkel Gallery through December 28. Of course that hermetic communion is impossible
What do expressionist painter Marc Chagall, surrealist photographer Diane Arbus and tech-happy sculptor Jon Kessler have