My biggest challenge in writing this book has been to leave the series as free as Stella leaves the novel. Before I could set it free however, I had to take it in, to see and to know its proliferating parts. Robert K. Wallace, from “Pictorial Voyage, More Than Meets the Eye” in Frank Stella’s Moby-Dick: Words and Shapes
THIS LECTURE HAS BEEN CANCELLED
To form something from nearly nothing, to obtain meaning by shaping, is what this picture promises.
Thomas Demand, referring to a photograph of Henri Matisse in his studio, “Thomas Demand on Matisse,” Tate Etc. 31 (Summer 2014)
What is a word for collaboration between material will and human intention that implies generation rather than decay?
Martha Tuttle, artist statement
April 12 - Frank Stella, artist featured in Frank Stella: A Retrospective, in conversation with Modern Chief Curator Michael Auping
Minus the gold leaf, they function like pictures with pronounced textual elements — in other words, illustrated manuscripts for the 21st century.
Christian Viveros-Fauné, “Fernando Bryce, One-of-a Kind Copyist, On View in Chelsea,” Village Voice, December 15, 2015.
What persists is an understated elegance and a sensitivity to gesture, color, and composition in fragmentary pictures: a silhouetted figure, a masked face, a veined arm. Presented in an oval format . . . the images might have been spied through a keyhole, and their Old Master allusiveness isn’t contradicted by the suggestion of dust and sweat.
New Yorker, review of Arne Svenson: The Workers at Julie Saul Gallery, 2015
Alison Hearst, Assistant Curator, Modern Art Museum of Fort Worth, FOCUS: Joyce Pensato
Feehily has a very good eye, and knows how to make modesty feel major. And that, evidently, is plenty.
Martin Herbert, review of Fergus Feehily at Stuart Shave/Modern Art, Frieze (October 2011).
It is about the poetics of not knowing—about both mining and understanding the membrane between the known and the unknown. Glenn Kaino, in “Building Bridges: Glenn Kaino,” by Seth Hawkins, Artillery (May 2015).