William Graham Anthony died on December 24, 2022, of complications suffered after having rushed into a fire in his Westbeth apartment a week earlier.
William Graham Anthony died on December 24, 2022, of complications suffered after having rushed into a fire in his Westbeth apartment a week earlier.
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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 […]
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.

Contributed by Alessandrio Teoldi / Angelo Vasta’s exhibition “Luci Spente” (Lights Off) at Tappeto Volante in Tribeca centers on a simple gesture: turning down the light. Not removing it, not rejecting color, but softening its intensity. For an artist whose visual language has often featured bright, vibrant palettes, this is a bold shift of deliberate subtraction.

Contributed by William Corwin / Depictions of spirits and monsters are often combinations of the diagrammatic and the visceral: attributes packaged in an erotic or terrifying container. Amorelle Jacox’s luminous female presences in “Mothers of Time,” now on view at Management, are unassuming and recessive beings peering out between throbbing bands of color and eerie cones of light. She populates her large-scale canvases with measurement devices – rulers, color wheels, and sundry visual and geometric rubrics that guide the viewer’s interpretation of the powers invested in each of the goddesses or muses she has invented.

Contributed by Sharon Butler / In June, in the wake of an exhausting month of fairs, NYC galleries are again presenting a full slate of exhibitions. At Field of Play, look for a survey of paintings by Lee Sherry (1947–2012). She had close ties with the Language Poets and was part of an avant-garde painting circle in Soho but never gained wide recognition. If old reconfigured texts and quirky materials that subvert narratives…
