By the time Paul Vexler chose to pursue his art full time in 2006, he already had decades of experience and a unique command over his favored material. Observing nature and the movement of trees, Paul understood the flexible properties of wood and created sculpture of remarkable elegance and beauty with seemingly impossible arrays of loops and knots.
The Blind Swimmer: Gordon Grant Fraser (December 2, 1975 – November 1, 2020)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.
Bushwick’s Tim GowanEven 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 […]
Siri Berg: A life in colorSiri 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 […]
April Kingsley (1941-2023): Art Historian, Critic, and CuratorWritten 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 […]
Cora Cohen (1943-2023)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.”
Contributed by Jonathan Stevenson / Instability hovers on several fronts – environmental, political, economic – and German filmmaker Christian Petzold manifests his concern about it with remarkable astuteness. For the haunting Transit (2018), he filmed characters with new-fangled accessories in black-and-white as they sought escape from a port in a nameless fascist state, seamlessly casting the shadow of Second World War trauma over the present day. In his new film Afire, which won the Silver Bear Grand Jury Prize at the Berlin Film Festival, he zeroes in on narcissism in a time that demands community.
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Contributed by Natasha Sweeten / You might consider the title of Colin Brant’s quietly inspiring exhibition “Mountains Like Rivers,” currently on view at Platform Project Space, an invitation to a world flipped on its end: what’s inherently solid becomes liquid, what’s up is now down. You would not be entirely wrong. Indeed, in Lake Louise/Poppies, the eponymous body of water mirrors the snowy, majestic range that anchors the painting. Red and yellow poppies in the foreground form a joyous tassel punctuating the band of blue, their stems waving like the arms of children eager to be called on.