THE ARTIST PROJECT: Joan Snyder On Florine Stettheimer's Cathedrals Paintings
"She had almost a cinematic sensibility. She wanted to tell the whole story." Walking across four large, vibrant and cinematic paintings by Florine Stettheimer, painter Joan Snyder notices that within the innocent subject matter, there are figures with attitude in such rich, complex environments.
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THE ARTIST PROJECT: Arlene Shechet on a Bronze Statuette of a Veiled and Masked Dancer
"When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it." For the past two decades, sculptor Arlene Shechet has returned to a small bronze statuette of a dancer.Sort:
THE ARTIST PROJECT: Ann Agee on the Villeroy "Harlequin Family"
Although sculptor and visual artist Ann Agee did not always admire ceramics aesthetically, she was attracted to the medium’s tension between fine art and decorative object. As Agee explores The Jack and Belle Linsky Collection at the Metropolitan MusSort:
THE ARTIST PROJECT: Ali Banisadr On Hieronymus Bosch's The Adoration Of The Magi
Among the ruins and contained figures, Ali Banisadr hears sounds travelling through walls, channeling an unknown psyche in Hieronymus Bosch's painting. The composition brings him into the painting through vision and sound, allowing him to be a part oSort:
THE ARTIST PROJECT: Alexander Melamid on Ernest Meissonier's "1807, Friedland"
The visual impact and political connotations of Jean-Louis-Ernest Meissonier’s 1807, Friedland resonate with Russian-born artist Alexander Melamid, who has long been fascinated with the higher power in art.Sort:
THE ARTIST PROJECT: Annabeth Rosen on Ceramic Deer Figurines
As a sculptor and ceramicist, artist Annabeth Rosen relishes the satisfaction of creating tangible objects. While exploring the earthenware collection of the Metropolitan, Rosen considers the influence of these objects upon her own artistic practice.Sort:
THE ARTIST PROJECT: An-My Lê on Eugène Atget's "Cuisine"
"There's a sense of care that goes into the preparation of a meal.” Photographer An-My Lê did not choose Eugène Atget's Cuisine because it is one of Atget’s masterpieces, but because the photograph speaks deeply to her own formative experience.Sort: