Polly was one of the hits I remember from Abstract Painting, Once Removed. Her work is literally removed from the constraint of a traditional, rectangular canvas (like Rhia and Meg). Image below is from that time frame.
More (her work has moved back onto the wall as she explores new iconography)
was also in Abstract Painting, Once Removed, and is similar to Polly in making work off the wall. Of interest to the reader may be new reads of the work through the lens that it is in fact “queer formalism.” Jim is of course not alone among queer artists in using non-mimetic modalities. Gonna explore this topic this week.
As I continue to think back on artists that were having a (or their first, in Calame’s case) big Art world moment while I was doing grad studies I’m reminded of course (since she, Monique and Polly were often mentioned collectively by the critical community) that Ingrid’s works* were considered lineage and departure from Pollock.