Word: storr
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...Contemporary Art in Chicago is holding a marvelous retrospective of Westermann's work, the first in a generation (the last one was in 1978, at New York City's Whitney Museum of American Art; he died only three years after). It comes with excellent catalog essays by Robert Storr, Dennis Adrian, Lynne Warren and Michael Rooks. It is a revelation, for it sets before us an artist who deserves to be rated as one of the great American talents, and should have been long ago; an aesthete of unshakable integrity who looked and talked like Popeye the Sailor...
...some ways, as Storr points out in his richly sympathetic catalog introduction, the artist to whom Westermann was closest in spirit was that exquisitely sophisticated Polish emigre Elie Nadelman, whose delicate, elegantly refined figures inspired by American folk art seem to underwrite many of Westermann's coarser and more colloquial ones in their ecstatically precise finish...
Zezel's go-ahead goal came on the power play after the Canucks had squandered their first seven opportunities. Set up at the bottom of the right circle by Brad May, Zezel rifled a rising shot that beat Kings goaltender Jamie Storr on the short side. Earlier, Zezel had tied the game 1-1 when he deflected Todd Bertuzzi's point shot with 5:12 left in the second period...
...unlikely that Close's current retrospective at New York City's Museum of Modern Art will produce any further medical revelations, but Close emerges from it as a remarkable artist all the same, and well served by a couple of excellent interpretative essays by curators Robert Storr and Kirk Varnedoe. Close's reputation as a stick-to-it, intensely focused, all-round-good-guy of the American art world has been gathering strength for years; and since 1989, when he was paralyzed from the neck down by a catastrophic stroke and had to learn to paint all over again from...
...reproduction--the image shrinks back to being just another photo, and its command on your attention (huge, august, frontal, like the head of a Pantocrator from a Byzantine apse) vanishes. Only from the originals can one grasp what Close means when he says, in a catalog interview with curator Storr, that "I wanted to make something that was impersonal and personal, arm's-length and intimate, minimal and maximal, using the least amount of paint possible but providing the greatest amount of information possible...