Word: painter
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...Here goes," wrote Resnick a decade ago. "I am not the follower of Monet. I am not an admirer or follower of De Kooning. I am not an action painter. I am not an abstract expressionist. I am not younger than anybody or older. I will not take my hat off to any other artist living or dead in all the world. I know this." With that, he turned his back on New York and moved to New Mexico. Resnick's interests as an abstract painter seemed to become obsolete, superseded by all those miles of unprimed duck, flat...
...Monet's follower, but his pictures do bear similarities to the late Monet lily ponds, not only in format -they are usually long, narrow rectangles, which drench the viewer in a field of color-but also in their light and density of surface. Resnick is a quite traditional painter, to the extent that he works in intimate, stroke-by-stroke contact with his painting. Brush marks pile on one another, forming a layered web of minutely graded pigment. (Some times the crust gets so thick that it is physically unwieldy: one large canvas in the show, Pink Fire...
...remained one of the most conspicuous figures in the English art world. The Clairol-bleached thatch, the Yorkshire accent and the owl-like stare through horn-rims the size of old Bentley headlights have become almost as much a part of the London myth as Twiggy. But a serious painter lurks behind the ruffle of publicity, and Hockney's new show, at New York's André Emmerich Gallery, demonstrates how wiry and controlled his talent...
Part of the attraction that Hockney's work exerts is its mixture of unusual guile and apparent naivete. He is a painter of frozen pleasures, held in ironic parentheses as though behind glass-the artificial but absorbingly hedonistic blue of Los Angeles swimming pools, the plastic palms, the flat glitter of light on a shower stall or a street facade. It is all painted deadpan, and Hockney's poker-faced style, coupled with his liking for artifacts as subjects, has given rise to the illusion that he is an English Pop artist. But unlike Pop, his work...
...unburdened." So says Harold Paris, the bearded, exuberantly loquacious son of an immigrant Yiddish-theater actor, who is having his first major American show at the University Art Museum in Berkeley, Calif. At 46, Paris has been by turns wigmaker, illustrator (for the Army newspaper Stars and Stripes), fisherman, painter, environment maker and sculptor. Though he has exhibited frequently in Europe, he is still virtually unknown in the U.S., for, as Berkeley Museum Director Peter Selz puts it, "he has never been part of any movement in American art. I think that is why he was never successful...