Apr 9, 2025, 5:44 PM
Marking Arshile Gorky’s 121st birthday and Armenian Genocide Remembrance Day, this reflection explores his enduring legacy, deep connections to the League, and a recently uncovered 1942 exhibition that sheds new light on his life, work, and Armenian identity.
The open road and the gloriously complex mixture of past, present, and future artistic and political movements in Mexico were calling them.
I feel this show of my paintings represents a personal revelation—and a kind of public exposure, too. It is risky to present work that has been developed privately and held close for so long.
In Christopher Gallego’s drawings, it is as if you are underwater, and all of the usual sounds, shuffles, and animation of life goes silent, and you find yourself in this sensorially pared-down but visually heightened world.
The world I was familiar with has been drastically altered by the invisible virus, and I have great difficulty navigating this unfamiliar terrain.
For painting landscapes en plein air, Frank Vincent DuMond taught his students a method of pre-mixing color strings in stepped values, moving from light to the dark value by creating color “notes” analogous to musical keys.
Kollwitz’s art was both a response to the suffering of others and a processing of personal experience. For Kollwitz, character born of hardship was indistinguishable from—lo, was the necessary source of—beauty.
“Variousness is the main unifying characteristic of this exhibition, after abstractness and a celebration of the power of color.” —Karen Wilken
Notable work by students in the classes of Yasumitsu Morito, Frank O’Cain, and Larry Poons.
Notable works from students in the classes of Anthony Antonios, Sherry Camhy, and Christopher Gallego.