Author Archives: Raphael Rubinstein

Matisse Etc. (part 1)

Influence is only interesting when it results in something unexpected, when it jumps languages, generations, mediums, styles, when it is not immediately recognizable as such. I’m thinking about influence because I’m thinking about Matisse, whose influence pervades the last 100 … Continue reading

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Bishop

The painter James Bishop is the unnamed subject of “Interlude III” in my article “Provisional Painting 2: To Rest Lightly on the Earth” (Art in America, February, 2012). At the time I felt there was little chance of his work … Continue reading

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Eustache

  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

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Beckmann

      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

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Cavellini

  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

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McEvilley

See The Critics.

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Colescott

  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

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Bluhm

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

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Jaffe

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

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Davie

See “Karin Davie Press Release, 1999” in the Vitrine section of The Silo.

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