In 1943, at the age of twenty, Frederick Terna knew that if he survived the war he was going to be a painter.
“She wasn’t loved, so she didn’t know how to give love.”
Clark talks to his friend and fellow painter, Jack Whitten, about growing up in Louisiana, coming of age in Chicago, heady days in Paris, and living in New York City when the abstract expressionists ruled.
John Imber’s latest paintings capture the energy and vitality of the botanic cosmos.
Back-dated art works, Picasso’s frustration, and the transnational creation myths of Abstract art.
Joyce Pensato starts with the most iconic cartoon figures—Mickey, Minnie, Daffy, Krazy, Stan, and Homer—but her representations of them couldn’t be further from their usual plastic media.
Michael Goldberg was our hero. Larger than life, he sauntered up to the plate and took on the mantle as our all-American myth because we needed a hero.
Shirley Jaffe’s distinctive and eccentric work is difficult to pin down, both in time and style. When I first came across her paintings at the Holly Solomon Gallery in New York in 1988, I had an immediate response to their idiosyncratic quality.
In the late ’80s and early ’90s Louise Fishman began to deliver works whose icons were both hewed from paint and saturated by the very light from which they spoke.
Racing thoughts: Artist and poet Marjorie Welish speaks to the legendary painter on the eve of his Fall 1996 retrospective at the Museum of Modern Art.
The New York Times dubbed painter Jack Whitten as “the father of new abstraction” in 1994. He speaks to Kenneth Goldsmith about his southern sensibility, the spirit of the ’60s, and the keys to artistic survival.
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.
Wilson discusses her “weather” paintings with Mimi Thompson.
Installation, Predella of Difference, in the studio of Michael Young.
“If somebody does a portrait, how do you get the aura or the feeling of the face? You don’t do every eyelash, right? That kind of attention to detail doesn’t really do it.”
Oil on canvas painting, Untitled, XXI, 1986, by Willem de Kooning. This article is only available in print.
Hailed by the New Yorker critic Peter Schjeldahl as “the most profound abstract painter of the past four decades,” Marden began his career under the tutelage of Robert Rauschenberg and went on to teach seminal artists Richard Serra and Chuck Close.
Famed Abstract-Expressionist Joan Mitchell evades questions and ties the interview format into a knot, all the while offering hints at the unapologetic brilliance behind her craft.