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Showing 41-60 of 1132 results

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  1. Article
    AnnMarie Perl

    Franz Kline’s late work Meryon 1960–1 calls into question established ideas about abstract expressionism, including its essential ‘Americanness’.

  2. Article

    We are grateful to AnnMarie Perl for her development of this project, and to Eugenia Bogdanova-Kummer for her valuable contribution to the research...

  3. Article

    We are grateful to Anna Arabindan-Kesson for her development of this project. The author would like to thank the following people for their...

  4. Article
    Anna Arabindan-Kesson

    It hardly needs to be said that Barkley L. Hendricks’s portrait paintings have a timeless quality, perhaps owing to his meticulous attention to...

  5. Article
    Anna Arabindan-Kesson

    In Family Jules: NNN (No Naked Niggahs) (Tate L02979; fig.1) Barkley L. Hendricks draws on his aesthetic of assemblage to recreate the space of...

  6. Article
    Anna Arabindan-Kesson

    Barkley L. Hendricks’s work has been compared to the realism of artists like Philip Pearlstein and William Bailey, both of whom were included in...

  7. Article
    Anna Arabindan-Kesson

    While certainly embodying the spirit of the phrase ‘black is beautiful’, in Barkley L. Hendricks’s Family Jules: NNN (No Naked Niggahs) 1974 (Tate...

  8. Article
    Anna Arabindan-Kesson

    Portraiture refers to many things: a realistic portrayal, a memento, a memorialisation, a signifier of lineage; it can also reinforce the...

  9. Article
    Anna Arabindan-Kesson

    In 1973 the curator David H. Katzive wrote: ‘If three different people were asked how they responded to the portraits of Barkley Hendricks … it...

  10. Article
    Anna Arabindan-Kesson

    Offering the first in-depth study of this key nude portrait by Barkley L. Hendricks, this In Focus is enriched throughout by an interview with the...

  11. Article
    Dave Rice

    This report, written within the context of the European research project PERICLES (2013–2017), examines the challenges and opportunities for...

  12. Article
    Valerie Hellstein

    After years of cajoling, in 1966 Willem de Kooning agreed to a retrospective of his work. He had resisted for many years, telling one reporter, ...

  13. Article

    We are grateful to Valerie Hellstein for her development of this project, and to Richard Shiff for his contribution to the research. Valerie...

  14. Article
    Richard Shiff

    ‘Politics haunts the art of our time’. This blunt pronouncement opens critic Harold Rosenberg’s meditation on ‘Art of Bad Conscience’ – his column...

  15. Article
    Valerie Hellstein

    The image-making process remains very visible on the surface of Women Singing II 1966 (Tate T01178; fig.1), in the sense that one can imagine how...

  16. Article
    Valerie Hellstein

    The two figures in Willem de Kooning’s Women Singing II 1966 (Tate T01178; fig.1), painted in large, fluid strokes, fill nearly the entire surface...

  17. Article
    Valerie Hellstein

    This In Focus explores Women Singing II – a painting inspired by pop singers that Willem de Kooning saw on television – as the product of a...

  18. Article
    Sandra Zalman, Philip Ursprung

    In the following conversation, conducted in February 2017, Sandra Zalman and architectural historian Philip Ursprung reflect on Matta-Clark’s...

  19. Article
    Sandra Zalman

    During the summer of 1971, a little over a year prior to the exhibition at 112 Greene Street in New York that included the debut of Walls Paper...

  20. Article
    Sandra Zalman

    When Matta-Clark installed Walls Paper (Tate T14658) at 112 Greene Street in New York 1972, he did so in conjunction with his earliest ‘building...

Showing 41-60 of 1132 results

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