Awe-striking passages of deft realism are easy to find throughout the show. Wholly satisfying paintings, resolved from edge to edge and full of convincing purpose, are not.
Had Bay Area Figuration taken its place in the canon, we might not find ourselves in the tiresome situation we’re in at the moment.
This exhibition pits Jim Hodges’ undoubtable sincerity against the stylistic requirements of post-minimalism in battles that often come to a draw.
Residences are such a prominent feature of contemporary creative life that there’s an important gathering, the TransCultural Exchange’s Conference on International Opportunities in the Arts.
A wide swath of Belgian and American artists became interested in Courbet’s attention to the humble subject and his distinctive handling of paint. Mapping Realism examines how and whom.
The time is short, but the opportunity rich via these two exhibitions, to bask in the military culture of old Japan, with all of its deadly splendor.
The journey of Anders Zorn, from Swedish hamlet to the top echelon of society portraitists and back again, has a couple of messages for us. The first leg of the journey tells us that careerism is not a new phenomenon in the art world. The second tells us what it may be worth in the end.
Anyone interested in figurative art ought to rush over to Boston University’s Stone Gallery before “Teaching the Body” ends this Sunday.
The enduring aspect of Paul Klee’s art is its playfulness, which bubbles up even out of this viscous curatorial treatment.
Barry Moser’s decision to illustrate, in the end, is an extension of his probity. He would have been a fine abstractionist, but he found that he was better able to make art when he exiled himself from the kingdom of capital-A Art.