Photo Courtesy: Brice Marden/Artists Rights Society (ARS), New York; Lauren Lancaster for The New York Times

Brice Marden, Still True to His Vision

Brice Marden, Still True to His Vision | By Carol Vogel | The New York Times | March 2019 EXCERPT: “When he is not traveling the artist spends most of his time in Tivoli, in a large studio composed of rooms filled with paintings and drawings; carefully labeled paint samples, as well as sticks gathered from the surrounding landscape, which he dips in ink to draw. The atmosphere is mostly quiet except for the occasional loud whistle of a passing train.

That his studio is not far from either Olana, home of the painter Frederic Edwin Church, or that of another American painter, Thomas Cole, is not lost on Mr. Marden. The history of these artists has been ingrained in his memory since childhood.” READ MORE

More Press on Marden

Timelessness in Works by Thomas Cole and Brice Marden Two small shows in the Hudson Valley hint at long spiritual rhythms that are not lost, though they may be occluded, in the staccato frenzies of our day. By Peter Schjeldahl | The New Yorker | May 2019

EXCERPT: “Two sublime small shows that will last the summer in towns along the Hudson River remind me of something that art is good for: consolation. I speak of “Thomas Cole’s Refrain: The Paintings of Catskill Creek,” at the Thomas Cole Historic Site, in Catskill, and “Brice Marden’s Cold Mountain Studies,” which will open to the public on June 9th at ‘T’ Space, in the wooded outskirts of Rhinebeck. Roughly a century and a half apart in history, the artists touched me with a sense of timelessness that, today, couldn’t be timelier.” READ MORE 

'It's massive, it's hard, I don't understand it!' TS Eliot dance show hits UK By Lindsey Winship | The Guardian | April 2019


EXCERPT: “Next month, Pam Tanowitz’s Four Quartets will receive its UK premiere at London’s Barbican... It is the first time the TS Eliot estate has granted permission for the poet’s last great work to be used in a dance production. Tanowitz had been carrying lines from it in her head for a decade before Gideon Lester, artistic director at Bard College, New York, commissioned her to choreograph a piece to mark the 75th anniversary of the first publication of the Four Quartets last summer.… The resulting performance looks nothing like an English country garden, with set designs based on paintings by US artist Brice Marden. His bold, colourful markings are the backdrop to Tanowitz’s highly detailed, rhythmical dance, with its nods to classical ballet and Merce Cunningham(Tanowitz was taught by the great Cunningham dancer Viola Farber). Her compositional skill has been lauded by US critics; Alastair Macaulay called Four Quartets “the greatest creation of dance theatre so far this century”.” READ MORE