 |
| with my photo (1987/2026) photo: Karen Dana Cohen (2026) |
Wednesday, April 22, 2026
Saturday, April 18, 2026
Colossus
 |
| Martin Wong Wrightwood 659 - Martin Wong: Chinatown USA photo: Larry Wolf (2026) |
 |
| Larry Wolf, Torch and Crown (1998/2026) |
Friday, April 17, 2026
Studio Day 66
 |
| Larry Wolf, April Fidget (2026) |
 |
| Larry Wolf, April Fidget (2026) |
 |
| Larry Wolf, April Fidget (2026) |
 |
| Larry Wolf, April Fidget (2026) |
Reference Images
 |
| Larry Wolf, AIDS Memorial Quilt - March on Washington 1987 (1987/2026) |
 |
| Marsden Hartley, Garmisch-Partenkirchen (1933) Milwaukee Art Museum |
 |
| Max Beckmann, Wally Barker (1948) Milwaukee Museum of Art |
Wednesday, April 15, 2026
Tuesday, April 14, 2026
Monday, April 13, 2026
Studio Day 64
 |
| Gertrude Abercrombie, brooch Milwaukee Art Museum photo: Larry Wolf (2026) |
 |
| Marsden Hartley, Garmisch-Partenkirchen (1933) Milwaukee Art Museum photo: Larry Wolf (2026) |
“I think painting for him was a struggle. I think he was always struggling with those basic problems of being alive. ...
"Everything is a potential existential crisis. For an artist, you want potential. You want there to be conflict. Conflict creates friction. Friction create heat. When there's heat, there's potential for combustion, explosion, new knowledge. ...
"He was never satisfied with his work. At the same time, he was completely convinced of his own genius. That's enough to keep a person going. Why should you quit, if you're a genius? ...
"Hartley's most homoerotic work.. a totemic object.. it's all about the torso.. brute force.. like a tree trunk of a human being right in front of him. These men are elemental forms. It's not about the sweetness and tenderness of familial bonds between two men, it's barely homosexual. ...
"'I want this mountain. I need it. I have to touch it. I have to have it.' And the mountain rejects the artist. 'I have been here before you. You cannot possibly possess me.' Nevertheless, he's there trying. Grappling with it. Struggling with the thing he would like to possess. He gets the next best thing which is to possess an elemental symbol or idea of it. He does that with paint. ...
"I'm always excited to see a Marsden Hartley painting in the flesh, in person, in close contact with it. I'm excited. What I've learned to look for is there are big clumsy brush marks, clunky composition, it's thick. He's not trying to finesse reality, he's trying to beat reality out of the thing he's looking at."
Sam McKinniss, painter (b. 1985)
Thursday, April 9, 2026
Subscribe to:
Comments (Atom)