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	<title>
	Comments on: One Foot In The Sublime: John Zurier at Peter Blum	</title>
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		<title>
		By: colleen maloney		</title>
		<link>https://artcritical.com/2013/05/25/john-zurier/#comment-88164</link>

		<dc:creator><![CDATA[colleen maloney]]></dc:creator>
		<pubDate>Tue, 25 Mar 2014 01:22:48 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=31666#comment-88164</guid>

					<description><![CDATA[I would like to be on your mailing list.]]></description>
			<content:encoded><![CDATA[<p>I would like to be on your mailing list.</p>
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		<title>
		By: Joshua Neustein		</title>
		<link>https://artcritical.com/2013/05/25/john-zurier/#comment-83317</link>

		<dc:creator><![CDATA[Joshua Neustein]]></dc:creator>
		<pubDate>Sun, 23 Feb 2014 15:13:48 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=31666#comment-83317</guid>

					<description><![CDATA[Stephanie Maine has as lyric and resonant a language as Zurier has a palette. Indeed here is a defiant love of painting which these days has little currency. But Oh how enviable are those that stubbornly cling to that love…
Here Maine is at her best: “The very smallest canvas, Sorgin (21 by 15 inches), painted in a close range of pungent reds, attests to Zurier’s coloration of touch. A dense, though not particularly thick, cloud of brushstrokes — both fast and slow, fat and lean — gives way to raspy pinkish areas at top and bottom where the brush has barely swept the surface, or missed it entirely. A faint impression of the stretcher bars, which painters generally try to avoid, inflects this quizzical painting’s skin with a reminder of its rudimentary mechanical infrastructure.”

I love that texture of writing. It reads like a wine connoisseur
Joshua

- See more at: https://www.artcritical.com/2013/05/25/john-zurier/comment-page-1/#comment-83316]]></description>
			<content:encoded><![CDATA[<p>Stephanie Maine has as lyric and resonant a language as Zurier has a palette. Indeed here is a defiant love of painting which these days has little currency. But Oh how enviable are those that stubbornly cling to that love…<br />
Here Maine is at her best: “The very smallest canvas, Sorgin (21 by 15 inches), painted in a close range of pungent reds, attests to Zurier’s coloration of touch. A dense, though not particularly thick, cloud of brushstrokes — both fast and slow, fat and lean — gives way to raspy pinkish areas at top and bottom where the brush has barely swept the surface, or missed it entirely. A faint impression of the stretcher bars, which painters generally try to avoid, inflects this quizzical painting’s skin with a reminder of its rudimentary mechanical infrastructure.”</p>
<p>I love that texture of writing. It reads like a wine connoisseur<br />
Joshua</p>
<p>&#8211; See more at: <a href="https://www.artcritical.com/2013/05/25/john-zurier/comment-page-1/#comment-83316" rel="nofollow ugc">https://www.artcritical.com/2013/05/25/john-zurier/comment-page-1/#comment-83316</a></p>
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		<title>
		By: Joshua Neustein		</title>
		<link>https://artcritical.com/2013/05/25/john-zurier/#comment-83316</link>

		<dc:creator><![CDATA[Joshua Neustein]]></dc:creator>
		<pubDate>Sun, 23 Feb 2014 15:12:09 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=31666#comment-83316</guid>

					<description><![CDATA[Stephanie Maine has as lyric and resonant a language as  Zurier has a palette. Indeed here is a defiant love of painting which  these days  has little currency.  But Oh how enviable  are those that stubbornly cling to that love...
Here  maine is at her best: &quot;The very smallest canvas, Sorgin (21 by 15 inches), painted in a close range of pungent reds, attests to Zurier’s coloration of touch. A dense, though not particularly thick, cloud of brushstrokes — both fast and slow, fat and lean — gives way to raspy pinkish areas at top and bottom where the brush has barely swept the surface, or missed it entirely. A faint impression of the stretcher bars, which painters generally try to avoid, inflects this quizzical painting’s skin with a reminder of its rudimentary mechanical infrastructure.&quot; 

I love that texture of writing. It reads like a wine connoisseur 
Joshua]]></description>
			<content:encoded><![CDATA[<p>Stephanie Maine has as lyric and resonant a language as  Zurier has a palette. Indeed here is a defiant love of painting which  these days  has little currency.  But Oh how enviable  are those that stubbornly cling to that love&#8230;<br />
Here  maine is at her best: &#8220;The very smallest canvas, Sorgin (21 by 15 inches), painted in a close range of pungent reds, attests to Zurier’s coloration of touch. A dense, though not particularly thick, cloud of brushstrokes — both fast and slow, fat and lean — gives way to raspy pinkish areas at top and bottom where the brush has barely swept the surface, or missed it entirely. A faint impression of the stretcher bars, which painters generally try to avoid, inflects this quizzical painting’s skin with a reminder of its rudimentary mechanical infrastructure.&#8221; </p>
<p>I love that texture of writing. It reads like a wine connoisseur<br />
Joshua</p>
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		<item>
		<title>
		By: Michael Brennan		</title>
		<link>https://artcritical.com/2013/05/25/john-zurier/#comment-38615</link>

		<dc:creator><![CDATA[Michael Brennan]]></dc:creator>
		<pubDate>Fri, 31 May 2013 10:43:31 +0000</pubDate>
		<guid isPermaLink="false">https://www.artcritical.com/?p=31666#comment-38615</guid>

					<description><![CDATA[Insightful and to the point, outstanding review!]]></description>
			<content:encoded><![CDATA[<p>Insightful and to the point, outstanding review!</p>
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