Both Elaine and Willem were painters which I haven’t yet blogged about. As readers are likely aware it has taken some recent academic pushes to rewrite Elaine’s (and others) deserved place in the narrative of NY-based painters in mid-century America (with the Denver museum making perhaps the biggest move although not the only one).
There’s been no shortage of words written about her husband of course. When I first noted their absence from this blog I immediately became curious about how their relationship informed their work.
While looking at the Mint Museum’s website for info on Thomas I found this good interview with Nava.
After blogging about Bram I decided I should brush up on Tachisme. Which leads one to (among others) Wols.
(From above- Tachisme “is often considered to be the European equivalent to abstract expressionism, although there are stylistic differences (American abstract expressionism tended to be more “aggressively raw” than tachisme). It was part of a larger postwar movement known as Art Informel (or Informel), which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting.“)
Ying would probably say these are abstractions and not abstraction. Buttery goodness regardless. From #hyperallergic (of course).
Is, like Gemma and Kudditji, an Australian icon of abstraction.
I would agree with Richard that these are old fashioned paintings. Also, AbCrit is a good, international perspective on abstraction.
The online edition of Artforum spotlights Nigel’s newest works on paper at Pace.
Always fun to find an idea for a blog in your own Pinterest profile.
It would be hard to overstate how much I was enthralled with the work that Terry was making in the late ’90s as I was beginning grad school (example below).
Artforum- rightfully- notes Flora’s newest from her time in Venice in a space set up by #victorimiro “for invited artists to spend extended time in the historic city and make new bodies of work“. These are definitely abstractions although not clear she would call them nonrepresentational. Reminds me of Erin’s brushwork.
A few pages after learning about Ann Cathrin, I ran across the image below. Reading and looking more reveals she works through concepts as distinct bodies of work, changing her compositional strategy from time to time.
Blogging about Susan‘s brand of automatism made me think of Arshille who, in my opinion, utilized this modality as deftly as any other artist we have placed in the canon.