Exploring the formal and thematic frictions within Winslow Homer’s paintings on view in the Met’s “fairly perfect exhibition,” Winslow Homer: Crosscurrents.
I feel like a huge percentage of one’s education comes from community and being humbled by the talent of other artists.
I believe that artists spend their lives wrestling with themselves and with their work to fulfill an ideal, a vision.
A comparison of three Bryson Burroughs drawings in the Art Students League’s collection reveal how Parisian training transformed his technique.
“Holbein: Capturing Character” is up at the Morgan Library, and notwithstanding the reductive title, the show is a testament to the age of European humanism, and specifically to Hans Holbein’s role in painting its most prominent personalities.
I like to attack the canvas head on, work with it, not on it, and draw meanings from materials in the process. It’s alchemy.
The Incas in South America believe in Pachamama as the great creator. Mother Nature is the underrated artist to us human beings, especially to me. She is like all the artists and common artisans who quietly work, inspiring others.
Lessons from a figure drawing by Edmund F. Ward, a student of George B. Bridgman.
Q: What is the longest time you went without creating art?
A: Never.
Art has great potential and risk. I believe, as I am an immigrant, that risk and hope are part of my DNA.
Three recent exhibitions of note
I don’t think I will ever achieve everything that I want because, after I achieve one goal, I always find a new one.