In 1943, at the age of twenty, Frederick Terna knew that if he survived the war he was going to be a painter.
A typical Cordy Ryman lies in a hybridized zone between sculpture and painting; pieces of wood or perhaps canvas may be isolated like small geometric paintings or even extended into the full expanse of the rooms in which they are installed, following a kind of modular accumulation strategy.
Jessica Stockholder has revitalized abstraction and formalism by obliterating most of their self-imposed dialectical boundaries.
Nan Goldin’s photography never fails to entice, shining with her trademark sensuality and tenderness. She spoke with Stephen Westfall for BOMB in 1991.
“I think what a masochist wants is deep intimacy and closeness, and they don’t know how to experience it except as an act of violation. They don’t have a concept of two people just, you know, touching together.”
What unites the work of Polly Apfelbaum, Bill Barrette, and Nancy Shaver is their incorporation of objects and images that have a history of prior use.
“If it’s a painting done by someone else that I’m using, it’s important that it be looked at as a painting, and in terms of the person who did it, and their imagination.”