Latest Posts

Museum Exhibitions

Surface, flourish, complexity at the Hessel Museum

Contributed by Anne Swartz / Since its origins in the 1970s, practitioners and advocators of the Pattern and Decoration movement have countered claims that ‘decorative’ art lacked seriousness. In America at the time, critical arguments focused on the exhaustion of painting, positioning it as an outmoded visual form. Several artists resisted this affront. Instead, they embraced images for their pleasure, opposing the notion of immediacy often considered synonymous with other mediums such as photography.


Fiction: Murder in the Studio

Contributed by Laurie Fendrich / Three days had passed since Muriel Redpath—who had hated her given name since birth and instead liked to be called Mure—had seen Luke. Now here she sat, reading the news of his death on Twitter.

Fundraising Updates

Kick off: The Two Coats 2021 Year-End Fundraising Campaign is underway

In May 2022, I will have been publishing Two Coats of Paint for fifteen years. Thanks to reader support, it’s been a long, strange and fruitful trip that all began when my studio was half an attic in a creaky Victorian house in Mystic, Connecticut…None of this would have been possible without the generosity of our readers. All told, in fourteen-and-a-half years, Two Coats has published nearly 4000 posts. With your continued help, we’ll post 4000 more…

Solo Shows

Alan Prazniak’s kaleidoscopic view

Contributed by Jonathan Goodman / Alan Prazniak’s small paintings, on view at Geary Contemporary in NYC and Millerton, align with one another, offering a kaleidoscopic account of open meadows and grasslands, perhaps informed by early memories.

Solo Shows

Elizabeth Murray in Buffalo and for the ages

Contributed by Dana Tyrrell / From 1965 to 1967, Elizabeth Murray – a towering presence in contemporary painting who died in 2007 – lived and worked in Buffalo, New York. Having moved from San Francisco to teach at Rosary Hill College (now Daemen College), she used her time in Buffalo to build up to living and working in New York City. “Elizabeth Murray: Back In Town,” Anderson Gallery at the University at Buffalo, demonstrated that this interlude was formative to the canonically understood Elizabeth Murray.