The eclectic lives behind Alice Neel s portraits
A visitor studies Alice Neels 1964 portrait of the civil rights leader James Farmer in the exhibition People Come First at the Metropolitan Museum of Art in New York, March 29, 2021. Sasha Arutyunova/The New York Times.
by Erica Ackerberg
(NYT NEWS SERVICE)
.- My introduction to painter Alice Neel was a screen print that hung on the living room wall of my grandparents home in Woodstock, New York a provocative portrait of Neels pouting granddaughter lounging on a striped chair. That portrait then moved within my family, to Minneapolis, San Francisco and, finally, to my apartment on the Upper West Side of Manhattan down the street from where Neel painted and lived where it now hangs on my wall.
This Woman s Work | Jessica Fletcher
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The Eclectic Lives BehindAlice Neel s Portraits - The New York Times
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Almine Rech London opens an exhibition of work by Larry Poons
This exhibition includes a wide representation of Poons work, spanning from the 1970s all the way to present day.
LONDON
.- When the preeminent curator Henry Geldzahler featured Larry Poons work in the landmark exhibition New York Painting and Sculpture 1940-1970, at the Metropolitan Museum of Art, which opened in late 1969, he devoted the shows culminating gallery to the artist at 32, Poons was the youngest included. The room glowed with Poons early Dots and Lozenge paintings, as well as several then-recent expansive, colorful abstractions, later regarded as iconic works in the Color Field movement. Geldzahaler thereby positioned Poons as heir to the heroic era of American painting, following in the footsteps of Pollock, de Kooning, and Rothko, whose seminal works preceded Poons in the exhibition plan. Poons was regarded as the promising, guiding and rising star who could lead the way toward exciting
Last modified on Wed 26 May 2021 04.53 EDT
Had you been in the Gibbs Building at King’s College, Cambridge, one summer’s day in 1969, you might have come across a pair of English artists taking tea. The older was the Bloomsbury painter Duncan Grant, then 84. The younger, halfway through his tenure as the university’s first artist-in-residence, was Mark Lancaster, who has died aged 82.
It was, variously, an unexpected pairing. Lancaster, at the time, was painting works such as Cambridge Green, now in the Tate collection – resolutely modernist, grid-based acrylics, seemingly derived from American minimalism. The resemblance was not coincidental.
Five years earlier, while still a student at Newcastle University, Lancaster had gone to New York. While there, he had taken up an introduction from his teacher, the pop artist Richard Hamilton, to meet Andy Warhol. Warhol, captivated, offered the young Englishman both casual work at the Factory and an introduction to Henry Geldzahle