Mark Tansey, Intermission, 1992, toner on paper, 7¾ × 7½ inches. Courtesy of Curt Marcus.
Mark Tansey, Intercepting a Dangerous Interpretation, 1992, toner on paper, 7¼ × 10 inches. Courtesy of Curt Marcus Gallery.
Mark Tansey, Victorious Ahistorians Celebrating the End of History, 1992, toner on paper, 6¾ × 9½ inches. Courtesy of Curt Marcus Gallery.
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.
It was in 1981 and I was a sophomore in art school when I first encountered Chuck Close’s work at a show called Contemporary American Realism Since 1960. I was struck by how it didn’t resemble any of the other work in the show.
Originally published in
Featuring interviews with Haruki Murakami, Ileana Douglas, Dan Graham, Mike Leigh, Campbell McGrath, Dona Nelson, Tran Anh Hung, Julius Hemphill, Stephen Wright, Robert Schenkkan, and Lawrence Gipe.
We need our own space to think and digest what we see. And we also have to trust the viewer and trust the power of the object. And the power is in simple things. I like the kind of clarity that that brings to thought. It keeps thought from being opaque.
Felix Gonzalez-Torres
