Michael Mazur

Michael Mazur was an American artist whose work is collected in The Museum of Fine Arts Boston, MOMA, The Whitney Museum of Art, and the Metropolitan Museum.


“…In his latest of his series of shows at the Barbara Krakow Gallery, 16 new works in acrylic, collage and mixed media demonstrate both a technical deftness and a quality of intuition which is easier to catalogue than to explain or interpret. Five abstract Illuminations numbered with precise Roman numerals speak a mostly curvilinear language whose syllables are inflected from painting to painting, but seem, in themselves, unique evocations. Illumination I (nocturne) hovers at one pole against a sky of pulsating, refulgent blue and roots at it’s other pole into a viscous blue the depth of midnight. In between, so many shades of transition pass from one blue to another that this transition itself becomes an event of infinite progression and regression. The precision of balancing shapes, one rooted, the other hovering is belied but not betrayed by the deliquescent blue which suspends them both ­ they seem to need each other as a skeleton and flesh, container and contained…It is a delight to absorb in these sensuous colors and redolent forms the modulations of spontaneity and discipline, expressive gesture and control which ripple through Michael Mazur’s new works in as seamless and provocative an amalgam as paint and purpose can achieve.”

— James Foritano

Art New England

“Mazur’s monoprint illustrations also feel remarkably attuned to the darkness of Dante’s world, recreating the awesome horror of Hell without relying on cheap costumes or props…In Mazur’s images the voice of the poet rings clear.”

— Miles Unger

Boston Globe

“…Landscape does dominate the strongest single wall in the show, whose start is Michael Mazur’s gorgeous Mind Landscape after Chao Meng-Fu…Intensely rhythmical, its umbrella-like horizontals of green are linked by arcs of deep brown. The space Mazur has created has both great height and depth. The palette is achingly lovely; golds, russets and greens in perfect balance.”

— Christine Temin


“Michael Mazur could not paint an unbeautiful painting if he tried. This show of recent works demonstrated how intelligently he has made use of his interest in Chinese painting.”

— Jonathan Goodman

New Art Examiner

“…Michael Mazur has discarded specific references to landscape while deepening his dialogue with natural form…Ultimately these are introspective paintings made by an artist who has stood in front of nature long enough to hear in its repeated rhythms an echo of his own mortality.”

— Miles Unger

Boston Globe

“With their panoramic vistas of empty space, these paintings inspire a mood of unfettered contemplation.”

— Nancy Stapen

Art New England

“Michael Mazur’s new work consists of ten new pieces…All are self portraits…He is revealing himself in a penetrating introspective way that uses his abilities as a vehicle, not as just a showplace for them.”

— Marc Manheimer


“A wave is breaking in Mazur’s newest work. I see its force in the interplay of light and dark in The Woods-Late Afternoon, an interplay so delicate that the spell might be broken in a minute and so powerful that you can’t stand the thought that it will be.”
— William Corbett

Boston Globe

“Mazur gives an apocalyptic majesty to a scene we keep having to remind ourselves is just a Cambridge backyard…there is no detachment, emotional or physical, between artists and subject…”

— Christine Temin


“Mazur proved that monotypes, like other prints, can be monumental in scale. And his decision to use the medium for a mural commission points up one of the most striking developments in contemporary printmaking.”

— Barry Walker

Boston Globe

“For Mazur has accomplished nothing less than an expressive breakthrough — on its own terms as persuasive a demonstration of a medium’s neglected possibilities as the paper cut-outs of Matisse’s old age.”

— Robert Taylor

Art New England

“Mazur’s rapt, vigorous attention both to nature and to marks on paper recalls, especially at this heroic scale, classical Chinese landscape painting.”

— Rebecca Nemser


“As this is the Los Angeles debut of an important east coast artist…it is valuable to know that Mazur has always sought to go beyond the specificity and materialism of the realist movement. His work has plumbed more psychological realms and has more directly addressed the human condition.”

— Ruth Weisberg

The Soho News

“The only really successful realist, narrative painting in the exhibition is Michael Mazur’s Incident at Walden Pond, a triptych depicting the aftermath of a rape. The motion of panic in the woods communicates what it might feel actually to come upon such a scene; the disorientation, and the dreadful solution to the mystery of the running figures.”

— John Perrault

Buffalo Courier Express

“Mazur makes even flowers in bright daylight take on the feel of a body slowly and hesitantly moving its limbs through space.”

— Richard Huntington

New Art Examiner

“In all respects these drawings are the product of a sophisticated vision — and that has been acquired despite education and natural gifts. It is the hardest kind of battle to win.”

— Robert Storr

St. Louis Post Dispatch

“The bracing and unmistakable air of the present in the freedom of execution and scale of the work…full of energy, grace and mystery.”

— Mary King

Art News

“Although Mazur is known primarily as a painter, he is a versatile artist who has worked in various print media…thus the flexibility of the monotype appeals to him…The results are so beautiful that the issue of the nonmultiple print seems insignificant.”

— Pamela Allara


“It is good to see the work of an assured figure painter reminding us that the vitality of an artist’s concerns and his existence independent of them continue to maintain a position at the very crux of all artistic development.”

— Michael Florescu

“Artist of the Week,” Real Paper

“Unlike many artists of repute in Boston, he has enmeshed himself in the hub art community.”

— Paul Dinger

Boston Phoenix

“The style of Mazur’s pastels evokes not only the atmospheric effects of light and shadow, but also the feeling of letting one’s gaze range idly over the surroundings…Relaxed concentration is the attitude of mind celebrated here. It is surprising how few works seem to reflect this frame of mind.”

— Kenneth Baker

New Boston Review

“In his most recent works, Mazur has culled the best elements from various areas in his earlier production to produce what are his strongest and most convincing statements. The central achievement in the recent work lies in the artist’s ability to reconcile the objective with the subjective.”

— Kathe Tuttman

New York Times

“The man who was a master of the stylus is now a master of the airbrush and is the only artist I can think of… in whose hands the airbrush is anything but a degrading convenience.”

— John Canaday

Christian Science Monitor

“The Studio must be Mazur’s tour de force. At least to date… it epitomizes the complex structure of the artist’s work and, I think, establishes its originality firmly.”

— Kenneth Baker

New York Herald Tribune

“Mazur is a young master at the art of suggestion, implication, interference.”

– John Gruen

Boston Sunday Herald

“The tension of classical figurative poise and the dark introversion of 20th century Existential thought animates these torsos, ambiguous refractions of fate and free will.”

— Robert Taylor

Christian Science Monitor

“A young American of notable talent has come upon the scene in the past few years… Mr. Mazur is one of several American draughtsmen who have worked with enormous benefit in the great tradition of drawing.”

— Dore Ashton