Lerner’s new works evoke an asymmetrical kaleidoscopic hum, as geometric forms and multiple hues dance around each other.
Just because most museums in America are still asleep at the wheel, it doesn’t mean all is lost.
I have long thought of Lerner as an outlier whose inspirations include Hilma af Klint, gameboards, tantric art, and her trips to Turkey, Africa, and Southeast Asia.
ROYGBIV at the Kate Werble Gallery represents a diverse gathering of artists – veterans and newcomers, abstract and figurative, from Portland to Tehran.
I have been doing my best to follow Marilyn Lerner ever since I reviewed her exhibition at John Good for Artforum (May 1989).
I first went to Marilyn Lerner’s studio shortly after I reviewed her show at John Good for Artforum (May, 1989), and have gone periodically ever since.