Contributed by David Carrier / Just to the left of my writing desk is a painting of a magnificent tree with bright orange blossoms. Below it is a now faded postcard of a drawing of Barbara Westman, who died earlier this year at age 95, and her husband Arthur Danto sitting on a sofa with their dogs Charlotte and Emilia. To the right, a work on paper shows Danto taking the dogs for a walk in Manhattan. These Westman pieces more than hold their own against the prints of old European master works, Japanese woodcut, and Bill Anthony drawings that surround them. Anytime I feel discouraged by the slow progress of my work or the political news, I need only look at them to be cheerful again.
Tag: The New Yorker
John Updike’s visit to the Washington Square Outdoor Art Exhibit
In the June 23, 1956, issue of The New Yorker (available to subscribers), John Updike pens a droll report on the 49th Washington Square Outdoor […]
“A long-lapsed wish for art that is both of the moment and genuinely public”
Recently, while preparing my upcoming Washington Square project, I’ve been wondering why MFA-trained artists direct their work so specifically to the art cognoscenti rather than […]
“Not that the writer�s job was to write a lot, or to register the self with a splash, but to get his or her real experience down”
In the New Yorker Adam Gopnik’s piece about John Updike reminds me how much painting and writing have in common. “John Updike was a fine […]
The Limner
This week, The New Yorker’s short story, “The Limner” by Julian Barnes, is about an itinerant painter. Here’s an excerpt. “Mr. Tuttle had been argumentative […]
Measuring Marlene Dumas
Roberta Smith on Marlene Dumas: “The consistency of this show suggests an artist who settled too early into a style that needs further development. Stasis […]
Process trumps product for late blooming artists
In The New Yorker, Malcom Gladwell contributes an article about late bloomers in which he looks at David Galenson‘s research comparing the careers of Picasso […]
Mir� Mir� on the wall
The New Yorker’s Peter Schjeldahl on the Mir� show at MoMA: “‘I want to assassinate painting,’ Joan Mir� is reported to have said, in 1927. […]
Morandi: “I don’t ask for anything except for a bit of peace which is indispensable for me to work.”
The big Giorgio Morandi survey that opens this week at the Metropolitan Museum features over 100 paintings, drawings, watercolors and etchings. In the New Yorker […]
NY Mag’s fall painting picks
Giorgio Morandi: 1890–1964, Metropolitan Museum, New York, NY. Sept. 16–Dec. 14.“When the master of quiet still lifes died in 1964, he was unfashionable in New […]
Anthony Lane’s tour de force
Anthony Lane’s seriously funny New Yorker review of “Mamma Mia!” is a must-read for anyone who likes criticism.”Like many people, I was under the impression […]
J.M.W. Turner’s poetic visualization of British history
Turner has arrived in New York. In The New Yorker, back in September, when the exhibition was opening at the National Gallery, Simon Schama wrote […]
Clement Greenberg vs. Harold Rosenberg
In The New Yorker Peter Schjeldahl reports that The Jewish Museum’s chief curator, Norman L. Kleeblatt, has focussed “Action/Abstraction” on the writers, interspersing paintings and […]
Schjeldahl on Demuth: Slanting rays of abstracted light
Peter Schjeldahl reports: “Most esteemed for his floral and figurative, often homoerotic watercolors, Demuth in his painful last years, confined to his home town in […]
“All power to the hardboiled intellect”
Peter Schjeldahl writes about the Color Chart show at MoMA: “Predominant are attitudes of ironic detachment that derive from Marcel Duchamp, whose rebuslike canvas of […]




















