Seeing Comes Before Words

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Junger Hase Sitzend (2023) by Robert Russell Oil on canvas 80 x 70 inches (203.2 x 177.8 cm)

Currently on view as part of Porzellan Manufaktur Allach at Anat Ebgi

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Gaetano Pesce’s Studio by Joel Evey

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The Alps (2015)

by Lutz Bacher

Mylar

144 x 480 in. (366 x 1219 cm)

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Wolfgang Tillmans

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Tag/Nacht (2009)

by Wolfgang Tillmans

medium and dimensions variable 

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Siren Slopes (2022)

by Brach Tiller

Oil and acrylic on canvas

40 x 72 inches (101 x 183 cm.)

from “Durian on the Skin” at François Ghebaly 

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Man Pouring (2021)

by Carrie Cook

oil on canvas

223.5 x 152.4 x 3.8 cm

From CFHILL’s L.A. Dreams 3 Light Touch exhibition 

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Michel Majerus in his studio 

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You Actually Fell In Love With An Image (2018)

by Shirt

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WTP (Pola Void) (2022)

by Jochen Mühlenbrink

oil on canvas

140 x 100 cm

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LONG DISTANCE (CLOSE CALL) (2022)

by Martin Boyce

Painted perforated steel, painted aluminium, painted silicone moulded vacuum cast resin, telephone cable

65 1/2 x 43 1/2 x 1 1/2 inches; 166.5 x 110.5 x 4 cm

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Late Summer Pitch (2022) 

by Danica Lundy

Oil on canvas

72 x 60 inches (183 x 152.5 cm.)

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TWO OF SWORDS/FAITH REVERSED (2022)

by Zachary Ochoa

Acrylic on canvas

66 x 58 inches (167.6 x 147.3 cm)

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Tyrrell Winston’s studio in New York City

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Erased de Kooning Drawing (1953)

by Robert Rauschenberg

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Virgil Abloh’s Lumiere Diamond Chain

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John Berger: ‘I Believe that Finally the Art Critic Will Be Unnecessary’

Critics Credo: John Berger on the nature of ‘public’ criticism

“One can list the critic’s minimum qualifications: that he should understand the processes or art, if possible by personal experience: that he should have looked at many works: that he should have a sense of history: that he should have a finger on the pulse of significant contemporary affairs: that he should make himself familiar with all the different divisions and levels of taste in our society: that he should know something about the way artists live and the conditions of their employment (or unemployment): that he should be at least equally concerned with those who challenge the fashions as with those who make them: that he should follow, if only as an amateur, the development of the other arts besides his own: and over and above all this, that he should have a passionate love for art, that he should never forget, however trivial certain situations in which he may find himself, that art is one of the noblest achievements of man.“