• Ridley Howard

    Miller Yezerski Gallery

    New York–based painter Ridley Howard is profoundly attached to the South of his childhood. The six large-scale oil paintings and three drawings in the “Palace Court” series, 1998–2000, on view in his first solo exhibition recently, depict this twenty-six-year-old artist’s neighbors on the suburban Atlanta street where he spent his first thirteen years. In the narrative theater of Howard’s canvas, his characters—Janie Mulaski, Mr. Genn, Hester, Barbara, Kelly, the Domenicos—function as cultural archetypes and autobiographical signifiers. Howard’s settings and figures are drawn from memory where

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  • “Ben Shahn’s New York”

    Harvard Art Museums

    In 1946, Clement Greenberg endorsed the work of Walker Evans with the slogan “let photography be ‘literary.’” The next year, in a review of Ben Shahn’s retrospective at moma, he declared that Shahn was “more naturally a photographer than painter.” That show included very few photographs; Shahn wished to represent himself as a painter. The recent Harvard survey, which focuses on Shahn’s New York output of the ’30s, when Shahn hobnobbed with Evans and learned photography from him, remedies that situation by emphasizing his work with the camera and by reuniting the photographs and the paintings.

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