Head of March 1951

Milton Avery made this print, Head of March, with brush and ink. It’s got this off-white or tan paper, and then these big, luscious, dark black shapes that suggest a woman’s head. I can imagine Avery making this, kind of quickly, but not too quickly. You know? He’s got that brush loaded up, and he's making marks that are both economical, but also really gestural. Look at the hair on either side of her face – a big swooping movement with a brush. I think it’s so amazing when a brushline can give you both information, but also feeling. It's not just about the head, it’s about the feeling of the head. There's a kind of generosity of spirit in his work, and you feel like he’s inviting you in to play with him. And that’s what painting is, a dialogue between the artist, the materials, and, ultimately, us, the viewers. It's a conversation across time.