Three Women Artists: Expanding Abstract Expressionism in the American West uncovers the little-known stories of professional and creative gains in the region, and especially in the Texas Panhandle.
“I just got tired of sculpture as a big thing in the middle of a room,” the artist once said, adding that she “wanted it to go into space.”
We were told that women were on the peripheries of the artistic movement, while in fact they were driving it forward, energetically engaging in this radical pictorial language.
The documentary Lifeline recounts Still’s life, career, and legacy — and how they were shaped by his cantankerous temperament.
The artist, born Corinne Michelle West, is among the forgotten women of the postwar era, who rarely adhered to one style.
Part of the movement’s second generation, the artists embraced personal sentiment in their references to nature and popular culture, resulting in abstractions that are simultaneously experiential and devotional.
The first exhibition devoted exclusively to the Abstract Expressionist’s vast, mural-sized works is on view at Paul Kasmin Gallery in New York.
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Mostel perceives that drip paintings can express the scrambled feeling in your mind when you hear the federal government say that you can survive a nuclear war.
At one time or other these women’s craft was either considered lowbrow or was measured against the work of male contemporaries.
Asian-American artists engaged deeply and creatively with Abstract Expressionism, counter to historical views of the movement as a New York monolith.
The House of World Cultures’ exhibition tells the story of the Congress for Cultural Freedom’s use of an aesthetic of freedom, and contextualizes the lasting legacy of modernism within the geopolitical power struggles of the Cold War.