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Louise Fishman, Zero At the Bone, 2010, Oil on linen, 70 x 60

Dear Readers


I am really delighted with this issue: we have three articles about three artists. I have written about visiting Louise Fishman, a painter I have admired since I became aware of her work in the mid-1980s (though she has been a highly respected painter for far longer). Washingtonian Candace Randall interviews Renee Stout, winner of this year’s Driskell prize. Established by the High Museum of Art in 2005, the David C. Driskell Prize is the first national award to honor and celebrate contributions to the field of African-American art and art history. Named after the renowned African-American artist and art scholar, the prize recognizes a scholar or artist whose work makes an original and important contribution to the field of African-American art or art history. Candace Randle is writing for us for the fist time, and I would like to welcome her aboard.

And I want to thank Anna Leung for writing from London about the Henry Moore exhibition that was at the Tate Britain. In addition to thanking Anna, however, I also need to mention gallerist Skot Foreman who suggested I take another look at this modern master. For many, Henry Moore represents corporate art: the huge sculpture placed outside the big building to signify wealth and good taste. Anna’s closer scrutiny, occasioned by the exhibition, reveals an artist whose work passed through a number of phases over the course of a long career that coincided with some of the most important developments in 20th century art. He made some sculptures whose physical presence, emotion, and verve transcend the sites they grace and most certainly deserve fresh consideration. 

Thank you very much,


Deanna Sirlin is an artist and writer based in Atlanta, GA. She is Editor-in-Chief of TAS.

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