Writing

The Elusive Eagle: Charles McGill and the Anti-Trope By Joe Lewis “Golf is a chronic and progressive illness. Once afflicted, all bets are off. You can bet the farm on that!” Anonymous circa 2016 Classically trained in the figurative painting tradition, a superb...

Samantha Fields at Kim Light/LightBox Art in America, Oct, 2007 by Joe Lewis  [ILLUSTRATION OMITTED] Environmental drama of Shakespearean proportions is the best way to describe the unrestrained atmospheric landscapes that constituted Samantha Fields's major solo...

Rifka Milder at Merge Art in America, May, 2008 by Joe Lewis  Rifka Milder is an oil painter's painter. Her first major solo exhibition, this show featured abstractions of New York City's green spaces and architecture as seen reflected in urban bodies of water,...

Kim MacConnel at Rosamund Felsen Art in America, May, 2006 by Joe Lewis  Kim MacConnel's new series of 28 small pseudo-origami and watercolor collages focus on a seemingly endless number of American foreign policy and military disasters in Africa, the Middle East,...

Kim Abeles at Art Resources Transfer, Inc - Brief Article Art in America, April, 2002 by Joe Lewis  Infrequently seen on the East Coast, Kim Abeles is well known and respected on the West for her political and ethnographic art work. This midcareer survey of 57 works...

Joseph Nechvatal at Universal Concepts Unlimited - New York - "vOluptuary: an algorithmic hermaphomology" Art in America, March, 2003 by Joe Lewis  In the artist/theorist tradition of Robert Smithson, Joseph Nechvatal, a pioneer in the field of digital image-making,...

PREFACE I am deeply indebted to William Dukes Lewis elegant and comprehensive analysis of the Black Marching Band tradition, “Marching to the Beat of a Different Drum: Performance Traditions of Historically Black College and University Marching Bands,” especially its...

Dawn Dedeaux "Soul Shadows: Urban Warrior Myths" An installation   By Joe Lewis Artspace, March/April 1993   The trouble with a lot of politically motivated art is a failure of nerve. Artists who produce work that they know is not favored by our established...

Read it a little more clearly: THOSE AFRICANS LOOK LIKE WHITE ELEPHANTS: An Interview with Robert Colescott  By Joe Lewis The humor is the bait. It is the price you pay to get in. Robert Colescott’s paintings deal with popular ballads that have been thrown askew by...