Barbara Bloemink’s thorough, engaging book is the first comprehensive biography and full reading of Stettheimer’s paintings, and gives the artist the attention she has long deserved.
The most powerful outsider artworks in Outliers and American Vanguard Art at the National Gallery of Art evoke ideals about all artists: the belief, for example, that they are distinct from non-artists.
Each of these exhibitions showed me something I had not seen before.
Stettheimer was born into a wealthy, financially secure Jewish family, and she never had to work. For some people, her wealth means that she did not suffer enough to be an artist, and therefore her work does not have enough gravity.
Thomas Trosch’s paintings at Fredericks & Freiser Gallery recall idyllic settings from movie musicals.
A feminist, Florine Stettheimer understood the provocative nature of basing her compositions on the rarely seen female point of view as well as the significance of her choice to create an overtly feminine style.
The inaugural exhibition at the new Whitney Museum of American Art, which opens to the public today, is predicated on the elusiveness of a cohesive and stable national identity in the United States.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.