Richard Weinstein has spent a lifetime looking closely at people. Here, he considers what the great masters taught him, and what, still, he hopes to learn.

Nothing Is as It Seems

A new documentary and major exhibition on Gregory Gillespie challenge the assumption that his suicide was the inevitable outcome of his dark, disturbing late paintings, and force us to reconsider whether an artist’s death should define how we see their work.
John Wilson spent decades wielding charcoal and bronze to insist on Black dignity in a culture determined to erase it, creating art so confrontational that his 1952 lynching mural couldn’t be shown publicly in America even seventy years later.

A Certain Distancing Finesse

Technique is generally prioritized in schools, and the fascination with Sargent’s is emblematic of a fascination with surfaces, painterly and otherwise.
“I remember as a very young child often having deeply existential moments of dissociation from myself. Observing my surroundings but not being of them, wondering if this reality with which I’d been presented was only a dream.”
In printmaking, you can never be bored. Printmaking makes you smart. You have to think. You have to plan. And most of all, you have to be in a happy place to let it happen.
Ronald Sherr’s “Taunja, Twice,” a recently accessioned work in the Art Students League’s permanent collection, captures an artistic experiment in observation and a lasting connection with his model, Taunja.