B.Z. Sacks owned a gallery in the subway arcade at 42nd Street and Sixth Avenue in 1949. It was called the Tribune Subway Gallery. She was twenty-five years old.

Artist Snapshot: TR Ericsson

To me traditional art materials are burdensome: they point to themselves, or other points in history. I like to use a material that tells a different story and has a different history, often outside of art.
Social media turns works of art into objects of rapid consumption, sometimes supersonic, which I think makes us dangerously insensitive to the enormous amount of work, time, and sacrifice that lies behind each post, each evanescent image.

In the Midst of the Plague

The world I was familiar with has been drastically altered by the invisible virus, and I have great difficulty navigating this unfamiliar terrain.

Artist Snapshot: Dan Gheno

Why does all official portraiture always have to be celebratory—if you consider it as a visual catalog of past officials? Why can’t it also be a critical depiction or interpretation?
We care less now about the subjects than the paintings, which reaffirm that the business of commissioned portraiture—historically treated as a second-level endeavor—was capable of producing breathtaking stuff, art of the first rank.
An American expatriate living in Paris during the 1920s, Eugene McCown painted men in various stages of intimacy, though the homoerotic charge of his paintings was never mentioned by critics.