Contributed by Bill Arning / Rebecca Morgan has mounted her sixth solo show at Asya Geisberg’s Tribeca gallery, and one could be forgiven for assuming we already know what it will look like. Morgan has developed a well-loved signature style of crisply drawn, feminist-infused, instantly recognizable images drawn from art history, with large doses of Guston, R. Crumb, and Peter Saul fused with the more confrontational depictions of women by women associated with Lisa Yuskavage, Kathe Burkhart, Betty Tompkins, Judy Glantzman, and Marilyn Minter. Critic John Yau has also linked her work to Li’l Abner and The Beverly Hillbillies, as she brings the denizens of her native Appalachia into fine art.
Tag: Diego Velazquez
Bernice Bing’s unsung talents
Contributed by David Carrier / Bernice Bing (1936–1998), a gay Chinese American woman, grew up in San Francisco. She had a difficult childhood. Her mother died when she was five and lived in no fewer than 17 predominantly white orphanages. She attended local schools, got her MFA at the San Francisco Art Institute, and actively participated in the local art scene. Her teachers included Richard Diebenkorn as well as celebrated local artists, and Bing exhibited widely in Northern California. Now, thanks to Berry Campbell Gallery, which has provided a magnificent catalogue with a fine essay by John Yau, her work is being brought to New York’s attention.
New Spain’s inventive painters
Contributed by David Carrier / When the Metropolitan Museum of Art recently rehung its permanent European collection, the galleries devoted to Spanish art included an abundant selection of work from “New Spain,” as the vast Spanish empire was known during the colonial period. From 1521 to 1821, its territory included, among much more, what is now Mexico, Central America, and the US Southwest. Much of the art consisted of sacred baroque painting – arguably the first truly international art style. “Saints & Santos: Picturing the Holy in New Spain,” on view at the New Mexico Museum of Art, does it justice.


























