Hans Richter Rythmus 21 & 23. “Richter, on the other hand, decided to adopt an entirely new strategy: rather than attempting to visually orchestrate formal patterns, he focused instead on the temporality of the cinematic viewing experience by emphasizing movement and the shifting relationship of form elements in time. His major creative breakthrough, in other […]

Sylvia Pilmack Mangold From top to bottom: Untitled (View of Schunnemunk Mountain) (1980), The Maple Tree (1992-93), Trees at Pond (1983), The Maple Tres (Summer) (2006) “Sylvia Plimack Mangold is the sort of admirable artist who discusses cobalt violet oil paint as if it were as tasty as crème fraîche. This is only partly a matter of visual delectation. She has been […]

  Karen Kilimnik From top to bottom: The Matterhorn at Night, Dreamland, 9pm, 3am, Zermatt (2007), The Perch (2003), Candle Burning (1996), The North Face (2005) “Kilimnik was first acclaimed for her so-called scatter-art installations of various bits of pop cultural detritus strewn about a gallery space to create a sensibility somewhere between the postminimalism of Robert Morris and Barry […]

Bridget Riley From top to bottom: Cataract IV (1967), Fission (1964), Molecey (1976), Kiss (1961) “Riley was born at Norwood, London, the daughter of a businessman. Her childhood was spent in Cornwall and Lincolnshire. She studied at Goldsmiths’ College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. She began painting figure subjects in a semi-impressionist […]

Audrey Flack From top to bottom: Spitfire (1973), Chanel (1964), Wheel of Fortune (1977), Marilyn (Vanitas) (1977) Long considered one of the innovators of photorealism, Audrey Flack emerged on the scene in the late 1960s with paintings that embraced magazine reproductions of movie stars along with Matza cracker boxes and other mundane objects, that referred ironically to Pop Art. As one […]

Ralston Crawford From top to bottom: Whitestone Bridge (1939), Boat and Grain Elevators No. 2 (1942), From the Bridge (1942), Nassau #5 (1963-1967) “Painter, printmaker, and photographer Ralston Crawford created both abstract compositions and representational images characterized by precision, clarity, and rational geometry. Crawford spent his youth in Buffalo, New York and often accompanied his father, a ship’s captain, on travels on […]

Milton Avery From top to bottom: Interlude (1960), Black Sea (1959), White Sea (1947), Offshore Island (1958) “Milton Avery’s landscapes, still lifes, and figure compositions derive their expressive power from their abstracted, flat shapes and luminous yet subtle color. His subjects seem unremarkable, but the manner in which he treats them is exceptional, for through his strong, simple designs, his intimate scenes […]

Andrew Wyeth From top to bottom: Christina’s World (1948), Snow Flurries (1953), Brown Swiss (1957), Her Room (1963) “Wyeth gave America a prim and flinty view of Puritan rectitude, starchily sentimental, through parched gray and brown pictures of spooky frame houses, desiccated fields, deserted beaches, circling buzzards and craggy-faced New Englanders. A virtual Rorschach test for American culture during the better part of the […]

Vilhelm Hammershøi From top to bottom: Interior (1899), Interior (ca. 1903-1904), Sunbeams; Dust Motes Dancing in the Sunbeams (1900), Interior with Potted Plant on Card Table (1910-1911) Ida, facing away. The artists’ wife turned into the walls, turned onto herself, floating in the intimate foyers of the home she shared with her husband. The Danish winter painted into the walls, breathing […]

Romaine Brooks From top to bottom: La Veste en Soie Verte (1907), Renata Borgatti au Piano (or) Musical Inspiration (ca. 1920), White Azaleas (1910), Maggie (1904) “Amazons in the Drawing Room presents Brooks’s work in relation to early twentieth-century European society, and contemporary ideas about personal identity, class, and sexuality. The exhibition comprises four main sections: Portraits; Self-Portraits; Images of Ida […]