Travis Jeppesen’s 2019 essay “Queer Abstraction (Or How to Be a Pervert with No Body). Some Notes Toward a Probability” asked whether nonrepresentational art could ever be understood as queer or nonbinary. Curator Tomek Baran took Jeppesen’s question as the starting point for “WOW,” an exhibition that brings together works by Marta and Grzegorz. Both artists escape classification, making use of seemingly spontaneous and yet exacting gestures that situate their paintings, textiles, and installations somewhere between construction and destruction.
Artforum notes “Ballin’ the Jack,” and also that Louise began “her practice at the height of Abstract Expressionism; Fishman asserted herself as a queer feminist Jewish woman within the artistic milieu of the time. Her atmospheric spaces and muscular articulations recount the urgency of her self-expression, and speak to the dynamic forward motion of ballin’ the jack, or going full-speed.”
was part of the same cadre of queer creatives as Cy in the ’60s and had no small part to play in the story of Modernism himself.
One of my favorite things about living in Houston was visiting the Cy Twombly gallery at the Menil museum. I can’t think of many other artists whose work can create the kind of visceral connection that his does- I think of it first when discussions veer towards work that is beyond words or language.
BTW- you should also check out this good read about the importance of time he spent with Robert Rauschenberg.
Not hard to see why I’d be attracted to the painting below for those who know my own work.
Joshua’s practice also includes a performance element, something in which few abstractionists engage despite the performative nature of much painting in this genre (there are some photos of other work and stills of his last performance here).
is one of the many fantastic artists in Queer Abstraction. Also- Small Talk at the Salad Bar may be the best painting title I’ve seen in a minute (and its a damn good painting).
was in Queer Abstraction along with Mark and Paolo (and many others). The Whitney says his work sits “at the intersections of representation and language, imaginary and real worlds.”
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.