Two warm remembrances of the poet David Rattray, who passed away in 1993, and a video of the poet reading his piece “Mr. Peacock.”
Ogden Nash, in his Civilization Is Constant Vexation, disputed this anecdote, “ … America is the only country in history that has passed directly from barbarism to decadence without passing through civilization at all … “;
When the curtain rises on writer/performer Linda Hill, the metaphoric veil we call normal awareness goes with it.
“I’m not really trying to make a hermetic painting. I’d like to make a painting that engages the attention and imagination of the viewer, not one that will refuse to give up its meaning. Maybe one that will release its meaning in time.”
Michael Bidlo shares his relation to the “masters” as a copyist of the Modernist canon and at times looses himself in the process, not sure even of his own voice or thoughts at times.
George Condo’s revelatory paintings span the centuries between Madness and Beauty.
Hedda Sterne’s artistic career spans the 20th Century art history books. She first exhibited with the Surrealists in Paris and immigrated to America becoming an integral part of the Rothko, Pollock, Newman circle.
Anxious landscapes, aberrant allegories, perverse personifications: Chuck Connelly is Norman Rockwell on acid—a maverick narrative painter pushing the limits of myth into a modern malaise all his own. Connelly has worked with Martin Scorcese on New York Stories and is currently showing with Lennon Weinberg Gallery. I talked to Chuck in his paint-drenched studio on East Second Street, where he spoke with his usual fiery candor and irreverence.
In his Brooklyn studio, Tod Wizon meets with fellow painter Anney Bonney to discuss the finer points of art, polymorphic thinking, and self-abandonment.