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This week, associate editor Zack Hatfield revisits “James Bishop: Remembering to See,” Carter Ratcliff’s 1988 feature on the unclassifiable painter, who died in February at age ninety-three. Art historian Molly Warnock reflects on Bishop’s legacy in the current issue.
John Ashbery once described the art of James Bishop as “half architecture, half air.” In other words, a ruin. In his 1988 essay on the elusive painter, who was born in America but resided in France, the poet-critic Carter Ratcliff revels in the “ruined image” of Bishop’s abstraction, locating in his idiosyncratic treatment of surface, structure, and luminosity a bracing alternative to modernity’s ideas of artistic progress, its tenuously promised futures. “Bishop carries on a demolition whose chief residue is the subtlety that empties his art, opening it to the questions memory supplies,” Ratcliff writes. It’s difficult to imagine Bishop as a wrecking ball. A specialist in the barely per ....

New York , United States , France General , Mark Rothko , Robert Adam , Barnett Newman , John Ashbery , James Bishop , Jim Bishop , Zack Hatfield , Robert Ryman , Robert Rauschenberg , Emile Zola , Brice Marden , Robert Motherwell , Carter Ratcliff , Molly Warnock , Hadrian Villa , Giorgio Morandi , Jasper Johns , Maurice Poirier , Jane Necol , David Novros , Claude Lantier , School Of Paris , Abstract Expressionism ,