It must have been around 1997 that I was having lunch with Jim Harithas and Norman Bluhm on Mercer Street in SoHo and I described to them an exhibition Id just seen at the Drawing Center.
No getting cozy; no sense propping up a window, leaning back in a chair or adjusting the lamp. There is a story to tell and snap shots to look at, but this will be over before it starts.
The following conversation between Chuck Close and Rail Publisher Phong Bui was initially held at The Marie Walsh Sharpe Art FoundationThe Space Program in its new location at 20 Jay Street, D.U.M.B.O., Brooklyn, of whom both are members of the Artists Advisory Committeethen carried further at the painters West Village home last Sunday.
Since his last exhibition of six copper paintings at Earl McGrath Gallery in 2000, David Novros has been working on five monumental paintings which can be seen as his synthesis of early shaped canvas and fresco paintings. On a sunny afternoon this Spring, Rail Publisher Phong Bui paid a visit to the painters studio to talk about his life and work.
Wynn Kramarskys collection of contemporary works on paper consists of more than 3,000 drawings amassed over the last 50 years. His interests focus on the work of Minimalist and Post-Minimalist artists.
Rauschenberg said There is no reason not to consider the world as a gigantic painting. The process of cropping artfully from the gigantic painting and then clustering the actuality and materials of the real world in and onto his art was his central project.
Renaissance artists were members of professional guilds, maintained studios known as workshops, and staffed them with assistants to help complete monumental commissions. But that was an era in which princes and popes extolled artists as the aesthetic lifeblood of the city-state and supported them accordingly. In modern times, artists havent been able to count on such public largess.
He was a goner, a nonentity, and although hes had a perfectly respectable career, to the forces that streamline history, he was invisible.
Two recent exhibitions at the Metropolitan Museum of Art give insight into our heritage from the tradition of European art. The first is Poussin and Nature: Arcadian Visions (February 12 May 11) and the second is Courbet (February 27 May 18). Incredibly, Arcadian Visions is the first exhibition devoted exclusively to Poussins landscape painting. Courbet is the artists first full retrospective in 30 years.
A procession began with the museums accompanying exhibition, The Burial of Patrick Ireland. At the interment site, a modest pine coffin holding a death mask of the artist was lowered by pall bearers into the ground. The somber services included orations and poetry readings by prominent art world figures, culminating in a haunting recitation of keening, the traditional Irish mourning wail, by artist Alanna OKelly. At the completion of the ceremony, the audience of onlookerscomprised of the artists family, friends, colleagues, scholars, reporters, and members of the general publicburst into raucous applause as Brian ODoherty, the man who created Patrick Ireland, stood with his arms outstretched, cheering thank you for peace!