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David Rhodes

DAVID RHODES is a New York-based artist and writer, originally from Manchester, UK. He has published reviews in the Brooklyn Rail, Artforum, and Artcritical, among other publications.

In Conversation

LARRY POONS with David Rhodes

In the lead-up to Larry Poons’s exhibition Momentum at Yares Gallery, David Rhodes paid a visit to the painter at the studio he has occupied on Broadway, just south of Union Square, since 1975.

Moira Dryer Project

The abstract paintings of Moira Dryer (1957 – 1992) are due for critical reevaluation. Hopefully the two-part exhibition at Eleven Rivington, Moira Dryer Project, was just a beginning.

Letter From BERLIN

Here in Berlin, two timely exhibitions by Imi Knoebel present the artist’s long preoccupation with color and its material support.

LETTER FROM BERLIN: The Espirt of Gestures

Gesture has had a changing reception since Art Informel and Abstract Expressionism positioned it as a carrier of unmediated meaning at the middle of the 20th century. Once perceived as spontaneous, open and direct, gesture later became a sign of empty rhetoric: redundant, obsolete, and naïve.

Letter from BERLIN

Alois Riegl (1858 – 1905), an Austrian art historian, was a major figure in establishing the study of art history as an independent discipline. He was also highly influential in the development of late 19th century formalism. It is well documented that Greenbergian formalism, with its blinkered appreciation of mid-20th century painting and sculpture, has brought this way of looking into serious disrepute.

DEBORAH LIGORIO Escursione Meridionale

The central piece of this exhibition is a structure of five vertical and parallel planes, open at the sides and standing floor to ceiling. The sheets of board and window screen material form a structure that is ad hoc, but elegant and open at the sides like a thick, layered, section of wall

Letter from BERLIN
SERGEJ JENSEN Master of Color

There is something that still surprises when an artist reacts to materials, sounds, or available images in a way that simply feels good or feels right; creating something different where everything is rationally believed to have been done before.

HOKUSAI Retrospective

Hokusai Katsushika (1760 – 1849) said that all he had done before the age of 70 was not worth bothering with. He hoped for longevity in life in order to achieve something in his paintings; evidently he believed in the long haul.

AMY SILLMAN Thumb Cinema

What happens in a painting by Amy Sillman resonates with the struggle and discomfort of being a mortal, corporeal being.

A LETTER TO PHILIP GUSTON from David Rhodes

So many years have passed since your new paintings at the Marlborough Gallery caught your friends and supporters off-guard. Among your embattled partisan crowd, Bill de Kooning was almost alone in supporting your change of direction; after all, like you, he did what he wanted to do, when he needed to do it.

A LETTER TO MOIRA DRYER from David Rhodes

On a visit to New York last November, I visited Carol Szymanski and Barry Schwabsky. On the walls of their apartment are many beautiful works, though the one that had me immediately walking over to take a closer look was a small gouache on paper. It was one of yours.

FRANK STELLA The Retrospective, Works 1958-2012

Over the decades of his career, Frank Stella has embraced an ever more expansive and inclusive exploration of painting as a spatial entity. Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella’s rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

GORDON MATTA-CLARK Above and Below

Among the films, photo-collages, and drawings in Gordon Matta-Clark’s exhibition is a sculptural stone fragment of praying hands.

GERT & UWE TOBIAS

Collaborative woodcuts made on paper and mounted on canvas, sculptures, collages, and drawings from twins Gert & Uwe Tobias occupy the ground floor of the Whitechapel Gallery.

JANE FREILICHER Painter Among Poets

Jane Freilicher remains an important figure when considering the New York poets that emerged in the mid 20th century.

JO BAER

Jo Baer remains one of the foremost practitioners of Minimalism, having contributed to the movement many paintings and drawings, as well as writings that fueled the theoretical debates of the time.

TEXTURA Y TRAMA Y ABSTRACCIÓN

During the months of March and April in both Barcelona and Madrid, the curatorial project Jugada a Tres Bandas proposes to galleries that they interrupt their usual schedule and invite independent curators to organize exhibitions that include non-gallery artists.

ANDREA BÜTTNER

Andrea Büttner’s current solo exhibition, her third at the gallery, brings together works featured earlier this year at the National Museum of Wales in Cardiff and Museum Ludwig in Cologne.

EVAN NESBIT Porosity

For his first solo exhibition in New York, Evan Nesbit is showing at both spaces of Eleven Rivington. Comprising painting and sculpture, the exhibition is titled Porosity, which describes an aspect of Nesbit’s painting process, as well as, it could be said, the imaginative speculation undertaken to surmise what may structure the sculptures beneath their painted surface.

YUN HYONG-KEUN

Comprising a survey of twelve paintings, this exhibition presents a thoughtful overview of Yun Hyong-keun’s (1928 – 2007) quietly compelling work.

LYNDA BENGLIS

Three contrasting types of work comprise Lynda Benglis’ current exhibition at Cheim & Read. Standing alone in the gallery’s first room is a towering cast aluminum piece: The Fall Caught (2016), a vaguely anthropomorphic form leaning against a wall, large enough to stand beneath.

Parc Natural

For this exhibition Parc Natural at Galeria Trama, curator Frederic Montornés returns to the writer Georges Perec’s book Espèces d’espaces (Species of Spaces) (1974) that he freely interpreted for his 2015 MACBA (Museu d’Art Contemporani de Barcelona) exhibition in 2015.

Jack Whitten

Jack Whitten’s first exhibition with Hauser & Wirth presents works from several series—“Quantum Walls”, “Portals”, lenticular works from the “Third Entity”, one piece from the continuing Black Monolith Project, and a sculpture (all dated 2015 – 17)—continuing a five-decade-long investigation of passions vis-à-vis a testing exploration of painting itself.

JACKIE SACCOCCIO Portraits

In an excellent 2008 review in Gay City News, the late painter Stephen Mueller described Jackie Saccoccio as proceeding to “disrupt the picture plane either by continually contradicting space or by defining it.” In her current work, Saccoccio continues to punch holes in the picture plane, with pleasure.

GRAHAM COLLINS Stadiums

For Graham Collins’s second solo exhibition at the Journal Gallery, several different series of works are combined, including large-scale painted objects that effectively reconfigure the gallery’s main space.

CARMEN HERRERA

To inaugurate its new Chelsea space, Lisson, one of London’s most significant and established galleries, presents works created over the past two years by the painter Carmen Herrera.

VARDA CAIVANO / YAEL DAVIDS

Varda Caivano and Yael Davids’s two-person exhibition opened during Berlin’s hectic Gallery Weekend, and despite the profusion of new shows in the city, this proved to be the one not to miss.

Jean-Marie Straub and Danièle Huillet, Films and Their Sites

After presentations in Europe (at the Ecole Supérieure des Beaux Arts du Mans (1999) in Locarno, and at the Villa Arson de Nice (2004)), the present iteration of this exhibition, organized by Jean Louis-Raymond, coincides with the first U.S. complete retrospective of Straub and Huillet’s filmmaking, at MoMA. Comprising an original film poster, mounted photographs, writings, and video, the exhibition raises an interesting question: Does this amount to documentation?

Painting Paintings (David Reed) 1975

This exhibition brings together fourteen oil paintings by David Reed first collectively shown in 1975 in a solo exhibition at Susan Caldwell Gallery.

Letter from BERLIN: FRANK BADUR, Why Pattern?

Frank Badur has been part of the Berlin scene from the time he studied here, between 1963 and 1969. He became a professor at the University of Art in 1985, and, like many other German artists who maintain successful international careers, he has continued to teach.

MARY HEILMANN: RYB: Mary Heilmann paintings 1975—1978

Before becoming one of the most eminent abstract painters of her generation, Mary Heilmann arrived in New York as a sculptor in 1968. Exploring Pearl Paints, a short distance from her Chinatown loft, (Barnett Newman among many others had bought supplies at the famed, now-shuttered retailer), Heilmann initially decided against using the wide range of pigments on offer, avoiding what she referred to as “pretty” color and working in a restricted palette of earth tones and white. In 1974, however, her art underwent a substantial shift.

Summer: Curated by Ugo Rondinone

Entering the gallery and leaving behind the traffic noise of a busy weekday Grand Street, I found summertime to be successfully, if disconcertingly and humorously, evoked. Summer, curated by the artist Ugo Rondinone, brought together seven intergenerational artists whose works relate at varying tangents to this apparently straightforward seasonal idea.

JOSEF ALBERS Paintings, Drawings, Prints

Josef Albers’s (1888 – 1976) artwork, while concise in nature, allows complexity to reveal itself with prolonged looking. What is initially declared through simple means—some lines or a few colors—is free of graphic stasis. Nothing in an Albers stays still.

Moira Dryer: Paintings & Works on Paper

Moira Dryer’s third exhibition with this gallery—two previous exhibitions organized by gallery partner Augusto Arbizo took place in 2014 and 2016—comprises twelve paintings and nine works on paper.

ØYSTEIN AASAN

As the source of the Berlin-based Norwegian artist Øystein Aassan’s second solo exhibition at PSM Gallery, a quote from Barnett Newman is cited: “The painting should give man a sense of place: that he knows he’s there, because in that sense I was there.” Aasan achieves this sense of place through a very literal emphasis on making and context.

FRANZ ERHARD WALTHER

Facing the large gallery windows that open onto Grand Street, four white organic pillow-like shapes hang on a free-standing floor to ceiling wall; one in each corner. The title of this piece is “Vier Körperformen” (1963). A small, framed drawing to the right of this wall, “Körperformen” (1963), shows the outline of five similar shapes.

JOE FYFE make me one with everything

In Joe Fyfe’s work, the inherent characteristics of any given material are presented foremost and combined with a sense of highly nuanced formal invention. Materials and objects are sewn, glued, tied, or left leaning together; there is no idealization or “neutral ground” sought for painting—and painting and its possibilities is the subject of this exhibition—as medium specific.

Vivian Springford

These thirteen works expand the possibilities for painting or abstraction, even as we understand those terms today.

Letter from BERLIN

When Stefan Wolpe (1902-1972) began “Battle Piece” in 1942, it was to have been the first of a series of works for solo piano titled “Encouragements,” intended as a composer’s contribution to the struggle against Fascism; part of the genre Kampfmusik that had earlier included chamber operas, theatre music, and agitprop songs. The composition not only addressed the social and political struggles of the day, but also a desire to transform disparate musical idioms into a subjective communication of personal experience.

GERMAN STEGMAIER

German Stegmaier makes oil paintings and graphite drawings; he sits well within tradition and displays no desire to work with new or novel materials. He often presents his work in groups, clustered and unaligned.

ANETA GRZESZYKOWSKA Selfie

In using her body as both the image and site of her work, Aneta Grzeszykowska continues the dialogue and tradition of such artists as Cindy Sherman, Hannah Wilke, Ana Mendieta, and, most obviously in this exhibition, Alina Szapocznikow—another Polish sculptor whose work traffics in bodily fragmentation.

PER KIRKEBY Serial Thinking

As well as printmaking, Danish artist Per Kirkeby’s (b. 1938) oeuvre includes painting, sculpture, architecture, writing (poetry, essays, and travel books), and performance.

SAM FALLS

Two concurrent exhibitions in New York this fall refer to natural and cultural forms in poetic installations with entirely different, conceptually framed takes. Both use painting as intellectual and physical currency, and both excerpt works of literature in their press releases. Chris Ofili cites John Milton’s epic poem Paradise Lost. For Sam Falls, the relevant citation comes from Vladimir Nabokov’s novel The Gift: “A jail with no jailer and a garden with no gardener—that is I think the ideal arrangement.” 

ELLSWORTH KELLY Schwarz & Weiss

Here is a chance to walk through an entire strand of Ellsworth Kelly’s long and productive career—not yet definitive, because (at 88) he is still adding to it.

THOMAS NOZKOWSKI

As the poet John Ashbery once said: “Most reckless things are beautiful in some way, and recklessness is what makes experimental art beautiful, just as religions are beautiful because of the strong possibilities that they are founded on nothing.”

PIERRE OBANDO Like New

This is Pierre Obando’s first solo exhibition with the gallery. The title of his exhibition is taken from Roy Lichtenstein’s painting “Like New,” which is an atypical work for Lichtenstein and a telling choice for Obando.

TAMARA ZAHAYKEVICH ZAHAYKEVICH

One enters Tamara Zahaykevich’s exhibition on a small ramp that leads down to a set of differently sized rooms. It is a dynamic space and requires a thoughtfulness that is repaid: encountering these interconnected rooms, one is encouraged to take stock of their relational qualities and the particular proportion of each room to its neighbor.

ALEX KATZ Drawings

Two walls, both hung with drawings, face each other. One, shorter in length, was custom-built for this exhibition. They are painted a pale green, not a found green but one mixed by the artist and then matched to a Pantone color in the paint store and applied to the walls by gallery assistants. At the far end of the gallery, a row of windows open onto buildings across the street and a tree in the full green leaf of early summer.

MARK DI SUVERO

Identification between body and things is of central importance to Mark di Suvero’s sculpture and other works.

MIRA SCHENDEL: Sarrafos and Black and White Works

Mira Schendel was born Myra Dagma Dub in 1919. A Jew by birth, Schendel’s mother had her daughter baptized at the Church of St Peter and Paul, raising her in Milan as a Roman Catholic where she studied art and philosophy.

ANN CRAVEN:
Sunset Moon

a “Rose is a rose is a rose is a rose,” as Gertrude Stein once said. It is particular, not necessarily singular: Ann Craven’s repeated motifs of flowers, moons, sunsets, or birds typically extend an accessible image into multiplicity without undermining the exceptional character contained in each image produced.

Letter from BERLIN

A mobile is characterized by balance and movement; various parts are able to randomly reorganize themselves in response to touch or to currents of surrounding air. This simple device, in effect a kinetic sculpture, is also familiar as a children’s toy and a store window display.

Letter from BERLIN: MANFRED KUTTNER A – Z

Galerie Johann König is a short walk from Potsdamer Strasse, a new neighborhood for the Berlin gallery scene now long decentred from the original art district of Berlin Mitte. What once formed a haven of cheap, available space after the fall of the Wall in 1989 has now become a chic and increasingly expensive neighborhood for the incoming wealthy of former West Germany.

Robert Bordo Back Flip

The National Exemplar has a distinct program that focuses on artists of different generations, as well as on bodies of work that may have been overlooked relative to an artists’ better-known works.

DAN WALSH

Dan Walsh’s exhibition at Paula Cooper’s 21st Street gallery presents a two-decade overview (1994 – 2014) that includes paintings, works on paper, mixed media pieces, and artist books.

ROBERT RYMAN

The subject of Robert Ryman’s work is the relationship between light and matter; in particular, the relationship between a changing light and a specific surface.

Ardent Nature: Arshile Gorky Landscapes, 1943-47

Curator Saskia Spender, Gorky’s granddaughter, has installed over fifty landscapes, including paintings and works on paper from 1943 to 1947.

KELTIE FERRIS:
(F(U(T()U)R)E)

This exhibition of paintings and drawings marks a bold and confident change in the working methods of Keltie Ferris. A significant departure has been made from the characteristically fuzzy and pixelated images taken and transformed from screens present in previous paintings.

AL HELD Alphabet Paintings

This exhibition, comprising ten paintings and two works on paper culled from several private collections, affords viewers the rare, if not unique, opportunity to apprise Al Held’s Alphabet paintings, made between 1961 and 1967 andthought by many in this city to be his finest work.

GUNTHER FORG Lead Paintings

When Günther Förg’s monochrome paintings first appeared during the mid-1970s, they seemed to be, at least in part, a rejection of the expressionist and figurative tendencies of Das Neue Wilden (The New Wild) German painting emerging during those years.

Roland Flexner and Japanese Bronzes of the Edo Period

This pairing of drawings by Roland Flexner with bronze vessels from the Edo period is both beautiful and thought provoking­—so much pleasure and intellectual acuity, combined in an exhibition of real depth.

GIOTTO L’Italia

The fourteen works present here—mostly on panel, but also including five detached frescoes—are brought together for the first time, at the Palazzo Real. They provide a partial, but representative, record of Giotto Di Bondone’s (1267 – 1337) production over a more than forty-year period—from early to late in his hugely influential career.

MAUREEN GALLACE: CLEAR DAY

This sparingly hung exhibition, including over seventy works, is the largest gathering to-date of Connecticut born artist Maureen Gallace’s (b. 1960) small-scale paintings. While it is easy to see precedents for these paintings—Fairfield Porter, Jane Freilicher, Lois Dodd, and Alex Katz—the paintings are distinctly singular; in a genre tradition, but certainly not generic.

Beverly Fishman

Beverly Fishman’s high gloss surfaces have an inscrutable beauty. The shape and color of each work looks both estranging and familiar, and whilst the combinations of sometimes acidic or synthetic color entrance, they do not comfort.

Robert Duran: 1968 – 1970

Incredibly—given the quality of the paintings—this is Robert Duran's first showing in New York City since 1977. The exhibition, comprising seven acrylic on canvas and eleven watercolor on paper paintings from 1968 to 1970, locates Duran's work at a particularly divisive moment for contemporary art in general and painting in particular.

Adolph Gottlieb: Classic Paintings

In a pamphlet accompanying Adolph Gottlieb’s 1954 retrospective, Clement Greenberg wrote, “Picasso, of all people, was struck by Gottlieb’s pictures when he saw them in reproduction, said so, and incorporated them in his big Kitchen painting.”

Letter from Berlin

In late 1950s Brazil, amid cultural, social, and economic upheaval, changes were registered by new forms of literature, music, and visual art. In visual art, Neoconcretismo combined geometry with sensuality and expressiveness, absorbing examples of the Bauhaus and European modernism.

Letter From BERLIN

Two Berlin-oriented exhibitions at the Martin-Gropius-Bau seek to reevaluate the influence of Charles-Édouard Jeanneret, known as Le Corbusier (1887-1965), on the contemporary built environment and its social consequences. This is the most extensive presentation of the Swiss architect’s wide-ranging work in over twenty years.

Letter from BERLIN

Adrian Schiess and Helmut Dorner have a shared perspective on painting, occupying an extreme position on the medium. They are emphatically painters: their concerns are not descriptive or iconographic.

Letter from BERLIN

This is the Pakistani-born, London-raised, and Berlin-based artist’s third solo exhibition with Esther Schipper, and the first at the gallery’s new location on Schöneberger Ufer. Again, Ceal Floyer’s simple and direct strategy of inversion and displacement make for a subtle encounter of surprise, absurdity, and wit.

CAROL RAMA Spazio anche più che tempo

Carol Rama’s first exhibition was shut down by the police, who removed her paintings from the gallery. Some of the overtly sexual watercolors on display included images of men having sex with dogs and women excreting snakes.

AMY FELDMAN High Sign

For this artist’s second solo exhibition at Blackston, the walls and ceiling of the front gallery have been painted gray, and the difference this makes in how one experiences the five large-scale paintings that explore the tonal shifts of the complex hue is significant.

MILTON RESNICK:
Boards 1981-1984

In 1981, when Milton Resnick was 64, he bought 140, 40” by 30” impregnated, wax, corrugated boards. He had recently completed the large-scale Planets, Elephants and Straws in the Wind series. Each painting took as much as several months to finish and was up to seventeen feet in length.

John Armleder: Sh/Ash/Lash/Splash

John Armleder’s second exhibition at David Kordansky is an enveloping experience, and whilst it is true to say that questions are asked of painting’s art historical legacy, the effects of chance and playfulness guarantee an altogether immediate, and pleasurable, involvement for the viewer.

FRANK STELLA Black, Aluminum, Copper Paintings

Just for now, I would rather stay at street level and save a walk up the staircase at 45 East 78th Street for another visit. Not since Dorothy Miller’s 1959 Sixteen Americans exhibition at MoMA has a group of Frank Stella’s Black Paintings been shown together like this—and here they are, installed on the ground floor of L&M’s plush town house.

SYLVIA PLIMACK MANGOLD: Summer and Winter

In the first room of Sylvia Plimack Mangold’s exhibition, the visitor encounters the summer section of the exhibition’s title. Later, on moving through to the second room, the winter section. The cyclical progression of the seasons defines the rhythm of life in a climate that sees weather changing through the months, as well as vegetal and animal response. It’s impossible not to think concurrently of mortality and a celebration or acknowledgement of transformation.

RAOUL DE KEYSER To Walk

The tranquil ambiguity of an intriguing line appears punctuated by speculative moments. At least, that is what I hope to encounter. Concise yet inconclusive, these moments do in fact occur, again and again.

Albert Oehlen

The Serpentine exhibition is extraordinary. This show highlights Oehlen’s ongoing engagement with both the Rothko Chapel in Houston, Texas and the Kiev-born American artist John D. Graham ‘s painting Tramonto Spaventoso (‘Terrifying Sunset’) from 1940–49. In the high-vaulted central gallery space of the Serpentine Gallery—around which smaller adjoining spaces provide views out onto the park—are a group of canvases scaled to match Rothko’s horizontal paintings in the Houston chapel.

Letter From BERLIN

Exhibitions dealing, in their very different ways, with 21st century abstraction opened in the first half of September here in Berlin. Nymphius Projektee presents a small survey of painting, hung salon-style, which looks at some conceptual and geometric tendencies in 1980s abstraction that still underpin much abstract painting today.

ROBERT MANGOLD: Paintings and Works on Paper 2013–2017

Since the mid 1960s, Robert Mangold has consistently examined the possibilities of support shape, surface, color, and drawing, in dynamic and equal relation. This exhibition of recent work is no exception.

HANS HARTUNG: A Constant Storm

Hans Hartung (1904–1989) was born in Leipzig, Germany, into a family where paintings and music were always present. He was the son and grandson of physicians: his father involved in pharmaceutical research. Young Hans had a thing about lightning; he was captivated by the effects of energy as light, shadow, and space—sketchbooks filled with drawings of thunderbolts were known to his family as Hans’s Blitzbücker (Books of Lightning).

David Novros

The kinesthetic relationship viewers encounter with painting has long been a preoccupation for David Novros.

ADRIAN SCHIESS Peinture

Entering an Adrian Schiess exhibition is not a passive experience, and his current show at FRAC in Marseille is no exception. Spread out over two floors, Schiess has installed individual pieces on nearly every surface, be it hanging on or leaning against the wall, or lying flat on the floor.

PETER PLAGENS

This is Plagen’s best show to date, with works that indicate an ongoing achievement after decades of work, which thematically returns to the same question of how a presumed incompatibility of styles can co-exist in the same painting.

Monique Mouton: Scene

This particular group of works presenting a constellation of relations as if staged for the duration of this particular presentation.

Spieltrieb: Polly Apfelbaum, Beverly Fishman, Ryan Mrozowski, Kathleen Ryan

German polymath Friedrich Schiller (1759-1805) coined the term Spieltrieb in response to Immanuel Kant’s (1724-1804) text The Critique of Judgment.

GERWALD ROCKENSCHAUB: Geometric Playground (Flamboyant Edit)

Rockenschaub’s work cannot be easily categorized. Playful and engaged with the world and its technologies as it is, it also has a formal exactitude that deploys abstraction’s constructivist history as much as the potential of architectural intervention.

Deadeye Dick: Richard Bellamy and His Circle

In a 2002 interview with Judith Stein, the curator of Deadeye Dick: Richard Bellamy and His Circle and author of the recent, definitive Richard Bellamy biography, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art, Richard Tuttle said, “Dick was unbelievably sensitive, delicate and extremely refined. But he was strong—the strongest part of him was his belief in following his own way with art.”

Robert Janitz: Uptown Campus / College Robert Janitz

Nonchalance and elegance, speed and subtlety, all come together in Janitz’s work.

HASSEL SMITH:
The Ferus Years

The paintings in color and surface recall the American West, not as landscape painting, but as abstractions of light, heat, and surface.

Letter from BERLIN

An exhibition of work by Matti Braun, the Berlin-born, Cologne-based artist, is always something to which one looks forward. At BQ, Braun has made a show that speaks for itself more than just visually, extending any singular interpretation of the works with the simple device of an exhibition title.

RICHARD ALDRICH:
Enter the Mirror

Painting is but one option among many for Richard Aldrich, his abstract paintings being just the most familiar, as can be seen in this latest exhibition at Bortolami, his fourth at the gallery.

Wyatt Kahn

Wyatt Kahn’s wall-based works evade some old categories and challenge a few new ones.

Mark Grotjahn: New Capri, Capri, Free Capri

Casa Malaparte, a house built for, and partially designed by, Italian writer Curzio Malaparte in the late 1930s, is situated on Punta Massullo, a rocky outcrop on the eastern side of Capri.

David Rhodes

Before Tim became the artist of international stature and revolutionary educator so widely celebrated, he was an intense young man from Pittsfield, Maine who wanted to study at SVA.

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The Brooklyn Rail

NOV 2019

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