The following article is from The New Yorker magazine, 03/13/2006, by Calvin Tomkins. THE CREATIVE LIFE. THE POUR. At five o'clock on a recent Monday afternoon, the artist Barnaby Furnas was in his... Read full biography
The following article is from The New Yorker magazine, 03/13/2006, by Calvin Tomkins. THE CREATIVE LIFE. THE POUR. At five o'clock on a recent Monday afternoon, the artist Barnaby Furnas was in his Brooklyn studio, getting ready to start what he called "the pour" on a very large painting.... Read full biography
The following article is from The New Yorker magazine, 03/13/2006, by Calvin Tomkins. THE CREATIVE LIFE. THE POUR. At five o'clock on a recent Monday afternoon, the artist Barnaby Furnas was in his Brooklyn studio, getting ready to start what he called "the pour" on a very large painting. Twenty-seven feet long by eleven and a half feet wide, propped horizontally on a sawhorse of graduated height so that one end was about three feet lower than the other, the canvas virtually filled the room,... Read full biography
The following article is from The New Yorker magazine, 03/13/2006, by Calvin Tomkins. THE CREATIVE LIFE. THE POUR. At five o'clock on a recent Monday afternoon, the artist Barnaby Furnas was in his Brooklyn studio, getting ready to start what he called "the pour" on a very large painting. Twenty-seven feet long by eleven and a half feet wide, propped horizontally on a sawhorse of graduated height so that one end was about three feet lower than the other, the canvas virtually filled the room, leaving only a foot or so on either side for Furnas and his two assistants, Sarah Eaves and Jared Preston, to maneuver. The painting, called Red Sea, has been requested by Marianne Boesky, Furnas' dealer, who hoped it would be the largest work at the... Read full biography
The following article is from The New Yorker magazine, 03/13/2006, by Calvin Tomkins. THE CREATIVE LIFE. THE POUR. At five o'clock on a recent Monday afternoon, the artist Barnaby Furnas was in his Brooklyn studio, getting ready to start what he called "the pour" on a very large painting. Twenty-seven feet long by eleven and a half feet wide, propped horizontally on a sawhorse of graduated height so that one end was about three feet lower than the other, the canvas virtually filled the room, leaving only a foot or so on either side for Furnas and his two assistants, Sarah Eaves and Jared Preston, to maneuver. The painting, called Red Sea, has been requested by Marianne Boesky, Furnas' dealer, who hoped it would be the largest work at the Armory Show, the internatio... Read full biography
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