June 28, 2016
The Women Of Abstract Expressionism: 12 Artists History Should Not Forget
The Huffington Post
June 28, 2016
By Katherine Brooks

News

The Women Of Abstract Expressionism: 12 Artists History Should Not Forget
The Huffington Post
June 28, 2016
By Katherine Brooks

Thumb through an art history textbook until you reach the Abstract Expressionism chapter. Read aloud the names of artists you encounter first. Jackson Pollock, of course. Mark Rothko and Willem de Kooning soon after. Hans Hofmann, Franz Kline and Philip Guston after that. Notice a pattern?

They’re all men.

It’s a tired claim — that art history systematically forgets the women who took part in it — but it’s also true. Some books recognize the other de Kooning — Elaine, and the great Helen Frankenthaler. But for the most part, the annals of Ab-Ex art are filled with Roberts and Peters and even a Clyfford or two. According to recorded history, the painters experimenting with spontaneous, automatic or subconscious creativity were almost exclusively (white) male.

Yet a closer look at the canvases of the 1940s and ‘50s tells a different story, one adopted as the premise of the Denver Art Museum‘s “Women of Abstract Expressionism“ show. On view through September, the exhibition is naming a different set of artists, including Joan Mitchell, Mary Abbott, Deborah Remington and Judith Godwin. These are — among many other still-ignored women artists and artists of color notably absent from this list — the ladies who dabbled in action painting, color fields and all the anti-figurative magic in between.

“For millennia, women have been creators and innovators of artistic expression,” Christoph Heinrich, director of the DAM, explained in a press statement. “Few women have found their way into the accounts of art history, and not until the 20th century have they received some of the credit that is long overdue. We are delighted to be the first U.S. museum to tell these stories of the most prolific female Abstract Expressionists.”

In honor of the show, here are examples of work by each of the 12 women on view at DAM now. If you can’t make it to Denver (or the exhibition’s two other tour stops at the Mint Museum in North Carolina and the Palm Springs Art Museum in California) you can take in a digital preview here.

Elaine de Kooning (1918-1989)
Elaine de Kooning (born in Brooklyn) created portraits in the 1940s as a way of inserting herself “into the contemporary debate on abstraction versus representational painting,” the DAM writes in a biography of de Kooning, included in the exhibition’s catalogue. Many of those portraits depicted male “authorities” on postwar painting like Frank O’Hara and Harold Rosenberg.

Joan Mitchell (1925-1992)
“I paint from a distance. I decide what I am going to do from a distance. The freedom in my work is quite controlled. I don’t close my eyes and hope for the best.” — Joan Mitchell, born in Chicago, Illinois.

Mary Abbott (1921-)
A friendship between Abbott (born in New York City) and poet Barbara Guest inspired a series of “poetry paintings,” in which Guest would recite a phrase and Abbott would respond in paint, or vice versa, in a cycle of collaboration.

Deborah Remington (1930-2010)
Deborah Remington (born in Haddonfield, New Jersey) co-founded the Six Gallery in 1954 with five men. The San Francisco space will go down in history as the venue in which Allen Ginsberg first publicly read his poem “Howl.”

Judith Godwin (1930-)
An association between Judith Godwin (born in Suffolk, Virginia) and Japanese painter Kenzo Okada resulted in the former’s interest in Zen Buddhism and the teachings of D.T. Suzuki.

Lee Krasner (1908-1984)
In 1937, Hans Hoffman told Lee Krasner (born in Brooklyn) that one of her studies “is so good you would not know that it was done by a woman.” She is still one of the few female artists to have had a retrospective show at the Museum of Modern Art, held six months after her death.

Ethel Schwabacher (1903-1984)
According to the DAM, Ethel Schwabacher (born in New York City) explored psychological aspects of the landscape, creativity and maternity in her paintings — topics that were informed by her own relationship to psychoanalysis.

Helen Frankenthaler (1928-2011)
In 1952, Helen Frankenthaler (born in New York City) painted a piece called “Mountains and Sea” by pouring a mixture of thinned house paint and enamel from coffee cans directly onto a canvas, a method that later became known as her staining technique.

Perle Fine (1905-1988)
According to DAM, “non-objectivity was a central pursuit” in the art of Perle Fine (born in Boston), influenced by a desire to achieve a pure expression of color.

Grace Hartigan (1922-2008)
Grace Hartigan (born in Newark, New Jersey) was the only woman included in the 1956 exhibition “Twelve Americans,” on view at the Museum of Modern Art.

Jay DeFeo (1929-1989)
According to the DAM’s catalogue, Jay DeFeo’s artworks were associated with Abstract Expressionism as well as with Surrealism and spirituality. From the 1950s through the 1960s, she (born in Hanover, New Hampshire) painted and drew large-scale works on canvas built from multiple layers of mixed media.

Sonia Gechtoff (1926-)
The DAM writes that Sonia Gechtoff (born in Philadelphia) credits her early success in San Francisco to its “open environment for women, compared to misogynistic attitudes in New York.”

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March 27, 2019
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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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