Critical Reviews

Kanevsky's prolific and revolutionary visions have been harnessed to canvas and evoke an extension of Michaelangelo's own brush.

"Antiques and the Arts"

Maybe if we too could paint and express like Kanevsky, the answer would be as close to us as a brush to canvas. We touch the truth of our "selves", but never quite grasp it's shape. Kanevsky, it seems, does.

"Antiques and the Arts"

Kanevsky's art will save the world. Even the superficially aggressive themes turn under his brush into a deep fulfillment of humanity. It is not designed to shock, but is shocking by the apprehension of profundity.

J. C. Briggs, art critic, London

"Alexander, I hope you continue to challenge us. It would be a dull place if it weren't for people like you."

John DeStefano, Mayor, New Haven, CT

The ultimate fate of these paintings is to make an unrecoverable and never seen hitherto impact on the destiny of the world's art.

David Kolakoski, "Kent Good Times"

Kanevsky's powerful images, a bizarre fusion of historic drama and hallucinatory distortion, take one into the realm of subconscious, and instinctive place where semi-realistic visions of tormented figures writhe in convulsive agony amid a nightmarish otherworld.

Judy Birke, "New Haven Register"

Raw, passionate, angry and obsessive, Kanevsky's larger than life images reek of an intensely personal inner anguish that seems to have been propelled by the burden of human history.

Judy Birke

Are these the face of history, the tortured, the tormented, the lost, the damned, weighed down and haunted by the nightmares of the past? Are they caught in a modern world with little hope for a better future? Kanevsky's paintings raise many questions not easily answered.

Judy Birke

Kanevsky sees painting as "a way to god", a path toward expressing truths and confronting the human psyche.

Randall Beach, "New Haven Register"

Kanevsky's people are gazing upward into the glorious vault of the sky and asking, "who are we, where are we from and what is the meaning of this?"

Claudia S. Freedman, "Prospect Pages"

"The monumental figurative composition expresses complex theories encompassing western and eastern thought, science and religion that Kanevsky holds concerning the beginning and the end of the world and powers and struggles of existance."

Ronny Cohen, art critic, New York

"Concerned with grand themes: God and human history,... explorations into the conscience of man; past, present and future. Like Goya before him, Kanevsky isn't afraid to look at the dark side, with a passionate disposition for truth.

Franklin Sirmans, art critic, New York

"Revolutionary art. Kanevsky's ideas reaching the abyss, awakening the everlasting amalgam of births, transformations and destructions... veering about towards highest levels of spirituality, torwards veritable unhypocritical religiosity, towards his golden domes of churches. ...the artist, who sees from unembracable past to several centuries ahead.

J. C. Briggs, art critic, London

"Raging imagination astride a diverting sense of color. Away from the logic of one shape's influence upon another, we may look to certain periods of Richard Oelze, Asger Jorn or Marc Chagall for similarities of exotic vision of force of line but Kanevsky's impetuous flights into dark layers of anthropomorphic determination and unleashable religiosity draw from knotier fiber.

"Book Art Press"

"Outstanding contribution to our artistic ideal."

Petru Russu, Stockholm Massimiliano Cadamuro, Venice International Art Association