ARTnews
MICHAEL KESSLER
Nüart Gallery, Santa Fe
by Richard Speer
Few painters wax more poetically than Michael Kessler about the ongoing duel between Apollonian order and Dionysian chaos. The Manichean battle of human aspiration versus natural decay takes center stage in the artist’s works, played out in obsessive but never tiresome variations on the same basic schema.
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which to explore cerulean and ultramarine, navy and midnight. Kessler seems to feed off of intense saturation; when he departs from it, as in the less exhilarating ecru etudes Downstream and Grapevine, he loses his bearings.&n
ARTnews -- Michael Kessler reviewed by Richard Speer Nüart Gallery, Santa FeARTnews
MICHAEL KESSLER
Nüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which bsp; It is as if he senses that in the great battle his work chronicles, nature always wins; the best man can do is live—and paint—with intensity. Let us eat, drink, and be colorful, the paintings beseech us, for tomorrow we die.
—Richard Speer
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BACK TO RICHARD'S RESUMEby Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which dth: 2.0; ">idiot love movie idiot love movie idiot love movie furry movie sex furry movie sex furry movie sex girls breast videos girls breast videos girls breast videos hard dick movie clips hard dick movie clips hard dick movie clips gadis movie swicki powered by eurekster gadis movie swicki powered by eurekster gadis movie swicki powered by eurekster online pornstar videos online pornstar videos online pornstar videos uplaod videos uplaod videos uplaod videos xxx sex doll videos xxx sexic">Nüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which doll videos xxx sex doll videos hanover pa movie cinemas hanover pa movie cinemas hanover pa movie cinemas spanking videos lupas spanking videos lupas spanking videos lupas gay alex movie gay alex movie gay alex movie nasty interacial sex videos nasty interacial sex videos nasty interacial sex videos loni pornstar videos loni pornstar videos loni pornstar videos aylar lie porn videos aylar lie porn videos aylar lie porn videos belami josh elliot movie belami josh elliot movie belami josh elliot movie sex tights videosNüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which downloads/index.php?page=sex-tights-videos"> sex tights videos sex tights videos jordan capri porn videos jordan capri porn videos jordan capri porn videos retro sex videos retro sex videos retro sex videos big ass porn videos big ass porn videos big ass porn videos sex clips fantasy sex clips fantasy sex clips fantasy fantastic sybian orgasm clips fantastic sybian orgasm clips fantastic sybian orgasm clips women licking asshole clips women licking asshole clips women licking asshole clips authentic amateur sex videos authentic amateur sex videos Nüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which g> authentic amateur sex videos ciara sex videos ciara sex videos ciara sex videos amerture sex videos amerture sex videos amerture sex videos nylons sharing videos nylons sharing videos nylons sharing videos sienna west porn videos sienna west porn videos sienna west porn videos clipart for breast cancer clipart for breast cancer clipart for breast cancer mrs porche sex movie mrs porche sex movie mrs porche sex movie couples swapping videos couples swapping videos couples swapping videos celerity sex videosNüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which lerity-sex-videos"> celerity sex videos celerity sex videos tifa sex movie tifa sex movie tifa sex movie upskirt amateur videos upskirt amateur videos upskirt amateur videos amateur spy sex videos amateur spy sex videos amateur spy sex videos real xxx mobile videos real xxx mobile videos real xxx mobile videos booty shakin videos booty shakin videos booty shakin videos porn foreplay videos porn foreplay videos porn foreplay videos huge sex videos huge sex videos huge sex videos gay male massage videosNüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which age-videos"> gay male massage videos gay male massage videos watersports videos sex watersports videos sex watersports videos sex idiot love movie idiot love movie idiot love movie homemade creampie videos homemade creampie videos homemade creampie videos tranny cumming movie gallery tranny cumming movie gallery tranny cumming movie gallery free sex clips free sex clips free sex clips videos mature black stockings videos mature black stockings videos mature black stockings sspanking masturbation male videos sspanking masturbation male videoic">Nüart Gallery, Santa Fe
by Richard Speer
In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which s sspanking masturbation male videos rio lee porn videos rio lee porn videos rio lee porn videos renamon sex videos renamon sex videos renamon sex videos nudism recreational videos nudism recreational videos nudism recreational videos deepthroat and facefuck videos deepthroat and facefuck videos deepthroat and facefuck videos female power pissing movies female power pissing movies female power pissing movies thick girl sex videos thick girl sex videos thick girl sex videos sample pissing movie sample pissing movie sample pissing movie hot cunt vids hot cunt vids hot cunt vids nylons sharing videos nylons sharing videos nylons sharing videos videos lesbien fisting videos lesbien fisting videos lesbien fisting nudity 300 movie In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which ty 300 movie" href="/free-movie-downloads/index.php?page=nudity-300-movie"> nudity 300 movie nudity 300 movie sidekick porn videos sidekick porn videos sidekick porn videos no censor strip videos no censor strip videos no censor strip videos drawn together sex videos drawn together sex videos drawn together sex videos gay tickle torture videos gay tickle torture videos gay tickle torture videos x rated transvestite videos x rated transvestite videos x rated transvestite videos brutal videos brutal videos brutal videos online sex cam female online sex cam female hot cunt vids hot cunt vids nylons sharing videos nylons sharing videos nylons sharing videos videos lesbien fisting videos lesbien fisting videos lesbien fisting nudity 300 movie In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which ng> online sex cam female movie sex and fury movie sex and fury movie sex and fury dreamgirls movie locations dreamgirls movie locations dreamgirls movie locations women bodybuilders movie xxx women bodybuilders movie xxx women bodybuilders movie xxx u tube videos u tube videos u tube videos cloroform videos cloroform videos cloroform videos juggs movie gallery juggs movie gallery juggs movie gallery nikki nova porn videos nikki nova porn videos nikki nova porn videos bbw xxx videos bbw xxx videos hot cunt vids hot cunt vids nylons sharing videos nylons sharing videos nylons sharing videos videos lesbien fisting videos lesbien fisting videos lesbien fisting nudity 300 movie In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which trong> bbw xxx videos cheerleader tryouts sex videos cheerleader tryouts sex videos cheerleader tryouts sex videos transvestites sex videos transvestites sex videos transvestites sex videos humping videos sex humping videos sex humping videos sex siisy movie gay siisy movie gay siisy movie gay kelsey michaels porn videos kelsey michaels porn videos kelsey michaels porn videos busty cops movie busty cops movie busty cops movie amatuer wives submitted videos amatuer wives submitted videos amatuer wives submitted videos ffm sex movie hot cunt vids hot cunt vids nylons sharing videos nylons sharing videos nylons sharing videos videos lesbien fisting videos lesbien fisting videos lesbien fisting nudity 300 movie In Shifting Strides, Kessler, a 1990 Rome Prize winner, continued his well-honed superimposition of squares and rectangles atop luxuriantly layered organic backgrounds, shot through with arcing spurts of acrylics, varnishes, and gesso.
Depending on the interplay of materials, some works finish glossy, others waxy; some layers recede into muted planes, while others sear forth as if barely containing some preternatural incandescence. It is an unlikely updating of Hans Hofmann, this skillfully modulated push-and-pull between the polar drives to surmount nature and to surrender to it. The end products of this dialectic process come across rather like a painterly version of the last scene in Planet of the Apes, in which Charlton Heston discovers the ruins of the Statue of Liberty, toppled and overgrown with vines. Kessler’s ruins are his immaculate geometries, cancer-eaten by lichen-like tendrils that spread across and penetrate into the thickly built-up paint. There is something poignant in this.
Chromatically, Kessler has long enjoyed the alchemy between black and red, and Shifting Strides proved no exception. Twinkling, jewel-like works such as Offside I and II and the larger Kalli exult in the interplay of onyx and ruby tones. But recently the artist has ventured into thrilling greens—grading his Infield from chartreuse to kelly to forest—and blues—using Narita and Fishpond as springboards from which ef="/free-movie-downloads/index.php?page=ffm-sex-movie"> ffm sex movie ffm sex movie xtube masturbation videos xtube masturbation videos xtube masturbation videos dans sex videos dans sex videos dans sex videos hot latinas videos hot latinas videos hot latinas videos rough sex videos online rough sex videos online rough sex videos online big natural breast vids big natural breast vids big natural breast vids girls showering together videos girls showering together videos girls showering together videos speculum porn videos speculum porn videos speculum porn videos daisy chain sex videos daisy chain sex videos daisy chain sex videos guage porn videos guage porn videos guage porn videos