Dorothy (who is no longer with us) made works which “are too rich to be minimal, too spare to be expressionist. They deal with color and expansive space, yet they are too gestured and incidented to be straight colorfield works. They are adventures in form dealing with color as an expressive agent rather than as a mere phenomenon.”
The blog about Robert inspired me to look back into the last century. Regular readers know I often make Pinterest boards of artists as I’m looking at their work- here’s one of Lee’s work. I’ve always felt she got the lamest deal of any of the AbEx generation as her work is some of the strongest of the group. Here’s some quotes from her that help illustrate how she saw her place.
Sarah Shepard Gallery has a solo exhibition of Serena’s new works- Juxtapoz finds them noteworthy.
When I was in grad school I saw Susie talk at the Contemporary Arts Museum in Houston as a part of Abstract Painting, Once Removed— appears some years later she had a solo show there as well. Her work process has always been quite disciplined and it appears the monochromatic pieces of the early 2000s have given way to a broader palette (btw if you like these you’ll also like Sanford and Rob).
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)
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.
(*image below is from that time; her work like her colleagues mentioned above has moved in new directions over the last two decades)
Uta has been shown in the same context as abstractionists due to the similarities with formalism in her photographic strategies- I think it’s clear she shares an interest with “us” in the visual and phenomenal qualities of art viewing.
(for other photographic work click on the hashtag “photography” for this post)
Artforum dove in as well (Monique was on the cover of the issue in which the essay linked above appeared). What I enjoy(ed) about that part of her oeuvre was how it could be serious and not at the same time (I do think contradiction is fun and serious).
Since this was all happening at the time I was in grad school I’m gonna go down that lane for the next week or so. Oh- second image is what she’s up to these days.