Author Archives: Raphael Rubinstein
We’re in Paris in the early 1970s, among 20-somethings who, in the long hangover of May ‘68, frequent the cafes and bars of the Left Bank planning films that rarely get made, talking about books that don’t get written. … Continue reading
Chamber Music (after Max Beckmann’s The Argonauts) 1. like the Argo You’ve lived like the Argo, always answering to the same name. While others fell in love with arson and going back to the … Continue reading
Outside of Italy, the work of Guglielmo Achille Cavellini (1914-1990) has long been a well-kept secret—it’s missing from major museum surveys of Italian postwar art, never featured in big auctions or flashy collections and rarely if ever referred to … Continue reading
See The Critics.
Like many others, I have often repeated the orthodoxy that the early 1980s saw a return to painting, a rediscovery of figuration, an embrace of dramatic content and an explicit engagement with art history. And, like everyone else who … Continue reading
Artistic development often contains a large degree of unpredictability. While there are some artists who for decades remain entrenched in a single mode (Josef Albers, Giorgio Morandi), many more end up in creative situations that would have been hard or … Continue reading
Shirley Jaffe emerged from the crucible of gestural abstraction with an approach to painting that has given her maximum formal freedom within fairly constant material conditions. A smooth-edge (rather than hard-edge) painter, she fills each one of her canvases with … Continue reading
See “Karin Davie Press Release, 1999” in the Vitrine section of The Silo.
See Silo entry on Amy Goldin under “The Critics.”