Fiction
The Right Thing
Contributor
Bishakh SomBishakh Som’s work has appeared in Hi-horse, Blurred Vision, Pood, Specs and the acclaimed Graphic Canon series. He received the Xeric grant in 2003 to publish his first collection, Angel. His watercolor paintings have been shown at the Bannister Gallery at Rhode Island College and at Animal Magic, a solo show at ArtLexis Gallery in Brooklyn.
RECOMMENDED ARTICLES
Beyond Caravaggio: A New Account of Neapolitan Painting
By David CarrierNOV 2022 | ArtSeen
In his survey Neapolitan Baroque and Rococo Architecture, Anthony Blunt says that he counted more than two hundred churches, and a great deal of painting, sculpture, and decorative art was—and mostly still is—housed in these churches. But Naples’ artistic history has been marginalized.
Joan Snyder: To Become a Painting
By Norman L KleeblattJUL-AUG 2022 | ArtSeen
Regulars of New York City’s contemporary art scene have recently been treated to two doses of Joan Snyder’s paintings. Joan Snyder: To Become a Painting, currently on view at the Franklin Parrasch Gallery on the Upper East Side, includes seven recent works whose combined energy and elegant, clear installation in the gallery’s domestic-scale spaces contribute to the rewards of such a modest presentation.
Painting in New York: 1971-83
By Ksenia SobolevaOCT 2022 | ArtSeen
What became clear to me upon seeing the show is the unfortunate degree to which art historians have left painting out of feminist history, when in fact the paintings gathered together here share a lot of the sensibilities conventionally acknowledged as central to the feminist canon.
Thornton Willis: A Painting Survey, Six Decades: 1967–2017
By Tom McGlynn
MAY 2022 | ArtSeen
Thornton Willis prefers the direct approach to painting. His constructive sensibility, a preoccupation with the architecture of space, lays out the basic proposition that painting is a vital projection of actual line, shape, and color. This keeping it simple makes his paintings eminently accessible to the viewer, whom he addresses as an existential equal.
