Tilted Arc concerns the making of art. We engage artists directly, preferring to incorporate their own voice on practice, intention, materiality, installation and inspiration. We do not accept submissions. We publish work that we have seen in the real and followed for years. To keep us informed about your work, or for other questions, concerns […]

That’s where the poetry comes in…finding the right word…to allow the viewer their own interior narrative. Daniel Levine, Bristol, 2012 – 2013, oil on cotton, 12 x 11 3/4 inches. Image courtesy the artist. (Larger) Daniel Levine’s paintings speak (sometimes quietly, sometimes less so) about color, surface, material and light. But mostly his monochromes—which is […]

I began thinking that something else was happening, and that something else had to be brought into my thinking as a social realist painter — how the hell can I bring that into my thinking as an image maker? Arnold Mesches, “Eternal Return,” 2013, acrylic on canvas and paper on canvas. 50 x 60 in. […]

Each painting emerges from recollections of places seen and imagined, music and conversations heard, emotions, expectations and anticipation — all of it gets transferred onto the surface through color and structure. Painting is pulling stuff out of mental storage and adding to the supply at the same time. REW/FF: New Work by Emilia Dubicki 30 […]

I’ve been home from Italy since the beginning of September, so these images, these residues, are distillations of memory that can only come with time. Unlike working directly in nature, maybe what monotypes offered me, from the beginning, was a way of reflecting on an aspect that…is absolutely impossible to approach or to understand sitting […]

The degree to which the painter is transformed by their process is the degree by which the viewer can be transformed by, or enabled to “enter,” the painting. It’s not a finite record or exchange, but in the face of that genuine and meaningful articulation of transformation, the viewer does feel it, does “know it.” […]

The more art I see—and I think in 41 years in the art environment in New York I have seen quite a bit of art—enigma is that aspect of an artist’s work that holds me the longest and the thing that separates one artist from the rest. But enigma does not necessarily make you very […]

Aaron Siskind’s photographs from the post-Photo League years feel at first crowded with big, familiar names: Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman. But Siskind, who understood that paint is paint and the camera is different, made pictures that remain wholly his own. Never mind the pervasive sense of Abstract Expressionist gesture in […]

“Once a book is written, I feel that I have said what I had to say… So I decide that it might be best for me to do something else. Lately, this “something else” has been the making of collages…which now seems to have become a fixed daily activity, and one that I have no […]