Contributed by John Mendelsohn / In 1971, Mike Robinson (as he called himself then) and I were in Adja Yunkers’s drawing class at Barnard College. At the end of the semester, Yunkers asked the class, “Who is going to be an artist?” Walter and I raised our hands, and were invited to Yunkers’s studio.
Contributed by David Carrier / Over the years, I got to know Graham Nickson, the splendidly original English figurative artist who ran the New York Studio School and recently passed away, visiting his studio and writing a catalogue essay for him. Starting in the late 1980s, I lectured now and […]
The painter Anne Russinof, who lived and worked in Brooklyn for many years, died early Sunday morning, January 26. According to friends, the cause of death was cancer. Originally from Chicago, Anne was a graduate of the School of the Art Institute of Chicago and received an MFA from Pratt […]
Contributed by David Carrier / Just to the left of my writing desk is a painting of a magnificent tree with bright orange blossoms. Below it is a now faded postcard of a drawing of Barbara Westman, who died earlier this year at age 95, and her husband Arthur Danto […]
Two Coats of Paint has recently learned of the death of Gordon Fraser, a talented artist and art blogger who penned The Blind Swimmer, of a heart attack after undergoing a series of treatments for colon cancer.
Even though making art is often an experience that happens in the solitude of one’s studio, it rarely occurs in a vacuum. Artists rely on each other for support, reinforcement, inspiration, and challenge, forming communities to avoid feeling like fish out of water in this world. Tim Gowan was one of those artists who cherished being part of a community and played a role in its formation.
Siri Berg, 98, died April 8, 2020 in her home, in New York City. Born in 1921, in Stockholm, Sweden, Ms. Berg was an accomplished painter and artist of mixed-media who enjoyed a late-career renaissance in her final two decades. In recent years, her work was the subject of several […]
Written by Tom Recchio of The Provincetown Independent / An art historian, curator, scholar, and critic, April Kingsley of Wellfleet and Truro lived her life amidst art. “I wouldn’t go anyplace if there wasn’t art to see,” she once said. She explored American Abstract Expressionism, including the work of African-American and Greek-American painters, and contemporary craft art; she curated more than 75 major exhibitions in museums and galleries throughout the U.S.; and she published reviews, catalogues, and books at an astounding rate.
New York-based painter Cora Cohen died at a hospice in Brooklyn on June 22 at the age of 79. As Barry Schwabsky wrote in ArtForum International reviewing her 2022 exhibition at Morgan Presents, she was “one of the most underrated painters in New York.”
Louise McCagg, a member of the A.I.R. gallery, exhibited widely, both in the United States and internationally. She also collaborated with a new generation of Hungarians on many projects, one of them being part of the Hungarian Pavilion of the 2009 Venice Biennale.
Contributed by Mary Shah / Greg Lindquist and Theresa Dadezzio, co-founders of palladium/Athena Project, just opened their inaugural show, “Works on Paper,” featuring an impressive 175+ artists at their new curatorial space in Greenpoint, Brooklyn. I sat down and talked with Theresa and Greg about the project.
Contributed by Bill Arning / Private Public Gallery has earned its reputation for mounting deeply considered exhibitions of painting that honor artists who have spent decades refining their own private grammars of mark and color. Entered through a small garden – an architectural prelude that feels almost ceremonial – the gallery offers a perfect threshold for work that rewards slow, attentive looking. “Here, Elsewhere,” Kylie Heidenheimer’s first solo exhibition there, is fully in that lineage.
Contributed by Jonathan Stevenson / For over twenty years, Matthew Miller rendered arduously meticulous yet mysteriously otherworldly portraits, mainly of himself as subject and almost always against a maximally opaque black background betraying no brushstrokes, evidently free of human imperfection.