The nine artists in 1970’s: 9 Women and Abstraction infuse their art with an unexpected warmth, humanity, and quirkiness that feel all the more invigorating when compared with the cerebral objectification prized by their male Minimalist counterparts.
Let’s face it: there’s Brooklyn, and then there’s the rest of New York City. (Sorry, rest of New York City!)
Regina Bogat: Works 1967-1977 at Zürcher Gallery marks another milestone in the rediscovery of an artist who has long been hidden in plain sight. Since her start in the 1950s, in a milieu that included abstract artists like Mark Rothko, Ad Reinhardt and her late husband, Al Jensen, Bogat has always played the subversive.
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.
I recently went to see the work of Regina Bogat at Art 101 in Williamsburg, Brooklyn. As documented in an interview with Hyperallergic’s Jillian Steinhauer earlier this month, the artist has been hanging around the NYC art establishment since the 1950s.
Painter Regina Bogat has been involved the New York art world since the 1950s. (I promised not to reveal her age.) She had her first solo exhibition in the city in 1956, at Terrain Gallery, and her most recent one, Stars, which features colorful, vigorously messy paintings of different variations on the shape, is currently on view at Williamsburg’s Art 101. I had never heard of Bogat before this exhibition, nor seen her art, as I suspect many people haven’t. Who knows how many under-recognized women artists have been lost to the male-centric narrative of art history?