Jerry Saltz, art critic for New York magazine, appeared on a panel a few years back where he described the painter Rackstraw Downes as “strong conservative.” We know what “strong” is: forceful, confident and of a high quality. But “conservative”—what on earth can that mean?
Mr. Downes is a representational painter—this is to say, Read More
In his essay What the Sixties Meant to Me, the painter Rackstraw Downes writes of an encounter with a painting by the Flemish master Pieter Bruegel. Mr. Downes describes The “Little” Tower of Babel (c. 1563) as “densely legible, a thousand stories in every square inch” and “equivalent to two or three books of the Read More
In his essay What the Sixties Meant to Me, the painter Rackstraw Downes writes of an encounter with a painting by the Flemish master Pieter Bruegel. Mr. Downes describes The “Little” Tower of Babel (c. 1563) as “densely legible, a thousand stories in every square inch” and “equivalent to two or three books of the Read More
A good portion of the paintings in Tine Lundsfryd’s first one-person exhibition at Lori Bookstein Fine Art have been sold. This is, I think, a heartening sign. Not that the extent to which an artist sells work is a gauge of its merit: If we’re to believe the red dots surfeiting the price lists regularly Read More
A good portion of the paintings in Tine Lundsfryd’s first one-person exhibition at Lori Bookstein Fine Art have been sold. This is, I think, a heartening sign. Not that the extent to which an artist sells work is a gauge of its merit: If we’re to believe the red dots surfeiting the price lists regularly Read More
