Rebecca Morris

  • passages March 01, 2013

    Raoul De Keyser (1930–2012)

    THE CUMULATIVE EFFECT of experiencing Raoul De Keyser’s work twice during the spring of 2001 (at the Renaissance Society, Chicago, and at David Zwirner, New York) struck me deeply. I was incredibly excited by Raoul’s paintings but overwhelmed by them too, flooded by an intense longing to be an artist who could make a body of work like his. Here was a career’s worth of art at play, a way of composing and building an image that was personal yet also utterly open and generous. It was plainly visible that this was something he had developed for himself, and over time. I wanted that. At seventy, he

  • Raoul De Keyser

    THE CUMULATIVE EFFECT of experiencing Raoul De Keyser’s work twice during the spring of 2001 (at the Renaissance Society, Chicago, and at David Zwirner, New York) struck me deeply. I was incredibly excited by Raoul’s paintings but overwhelmed by them too, flooded by an intense longing to be an artist who could make a body of work like his. Here was a career’s worth of art at play, a way of composing and building an image that was personal yet also utterly open and generous. It was plainly visible that this was something he had developed for himself, and over time. I wanted that. At seventy, he