Peter Howson and the Harrowing of Hell
By Essay Issue 76
AMID THE USUAL eclectic lower Manhattan gallery offerings of Swiss cow-decorated milk bottles, comic-book art of the Oism faith, and an installation of banners with bankrupt bank logos, the opening of the exhibition Redemption at Flowers in Chelsea last spring, featuring four huge oil paintings of Christ’s death and resurrection by Scottish artist Peter Howson, qualified as…
Read MoreOf Mind and Matter
By Essay Issue 75
Of Mind and Matter The Art of Terry Maker GALLERY-GOERS who stumbled unaware into Reckoning, a 2012 exhibition at the Colorado Springs Fine Arts Center, could be forgiven for assuming that they were viewing a group show, not a retrospective of the work of Terry Maker. Nearly ten thousand feet of gallery space overflowed…
Read MoreAttending to the Light: The Landscapes of David Dewey
By Essay Issue 77
IT SEEMS TO ME, who have never held a brush in my life except to dip it in a bucket of house paint, that a good reason to become a painter, aside from the enduring mystery of beauty, is to learn how to see. And painters do indeed spend an inordinate amount of time in…
Read MoreWhere Do You Stand? Anselm Kiefer’s Visual and Verbal Artifacts
By Essay Issue 77
I think it is beautiful to be justified (historically). ———Anselm Kiefer Forgiveness is the only way to reverse the irreversible flow of history. ———Hannah Arendt ANSELM KIEFER is one of the few artists working today who have transcended the vicissitudes and fashions of the contemporary art world. His stature among artists working after World…
Read MoreSecond Line and the Art of Witness: Steve Prince’s Katrina Suite
By Essay Issue 78
Going through the experience of Hurricane Katrina taught me to submit to and praise God. The message I got is that we are hopeless, but we still thanked God in the midst of it. Some people can’t fathom how to sing and praise him in the midst of Katrina. That is where I pulled all…
Read MoreTo Make People Wonder: The Collaborative Portraits of Fritz Liedtke
By Essay Issue 78
HER MOUTH is taped shut. That’s what gets your attention first. At first glance, a photograph like this might trigger alarm or suspicion. But context is everything. Look again, and see how those temporary tattoo lines spiral like fiddlehead ferns from her eye to her ear, and that speck of blue glitter gleams on her…
Read MoreInsider/Outsider/In: The Art of Jennifer Anne Moses
By Essay Issue 79
THE SUNDAY TRAVEL SECTION of the New York Times would seem, on the face of it, an unexpected venue for an artistic confession, but for the multifaceted Jennifer Anne Moses—fiction writer, spiritual memoirist, and painter, as well as a self-confessed “liberal East Coast Jew”—it was an acutely appropriate venue, effectively the still point of…
Read MoreAllegorical Strays: The Art and Craft of James Mellick
By Essay Issue 79
AS YOU ARE A SAVVY and a dedicated reader, here for your delectation is a quick quiz in the pestering style of the SAT analogy, but more akin in spirit to Walker Percy’s Lost in the Cosmos: The Last Self-Help Book. If critics from the pre-modern period considered craft to be the opposite of art (craft vs.…
Read MoreThings Come Alive: The Art of Olga Lah
By Essay Issue 80
OLGA LAH DID NOT start out wanting to wrap buildings in electrician’s tape, fill huge spaces with billows of crumpled paper, or line galleries with great swathes of plastic bottle caps. She did not set out to be an artist at all—let alone one catching the attention of the art world in Los Angeles and even…
Read MoreFrom Specimen to Spectacle: The Unruly Art of Dayton Castleman
By Essay Issue 80
The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation takes place…. —Marcel Duchamp BACK WHEN MY KIDS were very young and I rarely had a moment to myself, I once managed…
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