Paul Feeley News Today : Breaking News, Live Updates & Top Stories | Vimarsana

No One Thing, the current exhibition at Hauser & Wirth is, in effect, an estate sale. The seven items—all steel, all painted, 1961–64—are among the last in circulation. One is very glad to see them but does not mistake this group for a historical exhibition, which in various aspects it pretends to be. In its miscellaneous heterogeneity however, the exhibition is as close to the lost fields as we may ever get, and by a special power of the artist—nothing short of magic, he is present here as if in person. A busy-minded formalist who said, “I don’t edit;” these...

Cora was a relentless and ambitious maverick. She was constantly reinventing her work. She wouldn’t settle, wouldn’t stop exploring abstraction. The paintings always seemed to lead her. 

Designed to reduce income inequalities in the state, the 'baby bonds' will be ringfenced for pursuits like paying for college, buying a home, or starting a business.

Given my interest in painting, I found myself going to Milwaukee to see an exhibition that promised to be taking the pulse of contemporary American painting—all the works in it had been made in the last five years. A show of fifty paintings by fifty different painters who the curators claimed were defining the field of contemporary painting seemed a bold move, amidst the general confusion that has been generated by AI, market manipulation, auction house publicity, critical pronouncements, and a general cultural malaise that has lingered since the 1990s.

The painter, who worked for decades at Reade and Broadway, had critical recognition in the United States and Europe for her paintings and altered x-rays.