Recently I wrote about the changing taste for American modernism, and the impact these changes had on the career and legacy of the painter Ilya Bolotowsky. As I was researching Bolotowsky, I learned about his involvement in the group American…
Last week, I wrote about the shifting American taste in modern art at the middle of the twentieth century. I’d like to revisit that subject again this week, prompted by my research on one of the most famous—and, in her…
Recently, while conducting research on the painter Elizabeth Murray (herself worthy of a future blog post), I came across an interesting anecdote. In 1994 Kirk Varnedoe, the Museum of Modern Art’s Chief Curator of Painting, asked Murray to curate an…
Flashback to December, and I am looking out the window at a sheet of ice, deposited in my corner of the Blue Ridge by the December Nor’easter that is rapidly dumping huge amounts of snow on various parts of the…
In this blog series, I have tended to focus closely on American art. This is, of course, mostly by design: I am a specialist in art of the United States, and the project I’m working on is all about CFAM’s…
I was inspired to write this post after enjoying a recent CFAM Work of the Week: Derricks at Night by the American printmaker Martin Lewis. In her introduction of the print Curator Gisela Carbonell relates Lewis’s relationship with the work…
A few weeks ago, I wrote about the painter Wolf Kahn’s dramatic escape from Germany on the eve of World War II. This week, I came across a similar story, this one from Kahn’s slightly older colleague Richard Lindner. Lindner,…
This week I have been considering Black Squall at Gibraltar, a recent addition to the collection. Its maker, James E. Buttersworth, is one of those artists, like Arthur Fitzwilliam Tait, who was prolific and comfortably successful in his own time,…
I have long wanted to discuss the related disciplines of art conservation and technical art history on this blog but hadn’t found the right angle until now. In part, that’s because I haven’t been able to travel to look at…
In the last entry of this blog, I wrote about the American painter Wolf Kahn, whom the art historian Barbara Novak regarded as perfectly blending the American landscape tradition with the formal innovations of Abstract Expressionism.1 In this post I…
