The end of modernism—in 1962—occurred at a time when Clement Greenberg was the foremost critic and champion of the American avant-garde that had flourished since World War II. Fifteen years after his debut as a defender of new art in America, Greenberg experienced the turn of the 1960s as a time for reflection—and summary and doubt.Read More
Joachim Pissarro: Can you describe your practice—your inspiration and technique—for this new series of paintings?
Tim Eitel: The paintings are all based on photographs that I take on city streets. The photographs are quite casual, but each one is part of an ongoing investigation. Typically, I get attached to an idea or motif and work through it for as long as I am attracted to it. Right now I am interested in doing portraits of homeless people and at the same time I am working on images of various security forces—police, soldiers, guards—which seem more and more omnipresent wherever I go.Read More
Visiting Frank Gehry’s new building—the Guggenheim Museum Bilbao—is a life-transforming experience. The urban space of the Basque capital and its river, the Nervion, both define and are redefined by the new museum. At first sight its almost unreal, seemingly weightless, resplendent titanium-coated volumes look peculiarly organic despite their geometric shapes. Once inside, the dialogues that take place continuously between the works of art on display and this surprising, ceaselessly flowing building create an experience at once physical intellectual and even spiritual.Read More
The following is an excerpt from an article written with Christopher Llyod in the December 1997 issue of On Paper. For the full article please download the PDF. Excerpt: It is an irony symptomatic of Impressionist and Post-Impressionist studies that, while the volumes of literature on this moment in the history of art never cease […]Read More
If we are thinking about Cezanne’s exhibition where there are some exquisite things: still lifes with a faultless finish, others very worked out and yet left halfway through. However the latter are even more beautiful than the former you also find landscapes, nudes, heads left unfinished yet truly grandiose. They are so painterly-, so lithe… […]Read More