Vol. 2 No. 1 wdmaqart rrVlliftAIIUA l Fall 1977

OUT OF THE MAINSTREAM Two artists' attitudes about survival outside of New York City by Janet Heit page 4

19th CENTURY AMERICAN PRINTMAKERS A neglected group of women is revealed to have filled roles from colorist to Currier & Ives mainstay by Ann-Sargent Wooster page 6

INTERVIEW WITH BETTY PARSONS The septuagenarian artist and dealer speaks frankly about her relationship to the art world, its women, and the abstract expressionists by Helene Aylon ...... pag e 10 19th c. Printmakers MARIA VAN OOSTERWUCK This 17th century Dutch flower painter was commissioned and revered by the courts of Europe, but has since been forgotten by Rosa Lindenburg ...... pag e ^ 6

STRANGERS WHEN WE MEET A 'how-to' portrait book reveals societal attitudes toward women by Lawrence A llo w a y ...... pag e 21

GALLERY REVIEWS ...... page 22

EVA HESSE Combined review of Lucy Lippard's book and a recent retrospective exhibition by Jill Dunbar ...... p a g e 33

REPORTS Artists Support Women's Rights Day Activities, Bridgeport Artists' Studio—The Factory ...... p a g e 34

Betty Parsons W OMAN* ART*WORLD News items of interest page 35

Cover: Betty Parsons. Photo by Alexander Liberman.

WOMANARTMAGAZINE is published quarterly by Womanart Enterprises. 161 Prospect.Park West, Brooklyn. New York 11215. Editorial submissions and all inquiries should be sent to: P.O. Box 3358, Grand Central Station. New York. N.Y. 10017. Subscription rate: $5.00 fo r one year. Application to mail at second class postage rates pending in Brooklyn. N. Y. and additional mailing offices. All opinions expressed are those o f the authors, and do not necessarily reflect those of the editors. This publication is on file with the International Women's History Archive, Special Collections Library, Northwestern University. Evanston. IL 60201. Permission to reprint must be secured in writing from the publishers. Copyright C Maria van Oosterwijck Womanart Enterprises. 1977. A ll rights reserved. f r O u t \ Of T h e \ Mainstream by Janet licit

Sherry L. Mednick Steiner. “New York offers a more serious Katherine Kadish. “New York is important, because it's still attitude about new trends and new people. As far as I'm the center of the art world. ..But. ..I don’t think concerned, Binghamton is just a place to live. ” it’s crucial to live there. ”

Sherry L. Mednick Steiner and Kather­ self with a local artists’ “community,” only with the ever-present problem of funding ine Kadish are both artists living in to discover time and again that such a —eroded the group’s energy and eventual­ Binghamton, New York. I met them a year community of people didn’t exist outside ly dissolved the group itself. ago when I was writing a thesis on women of several Sunday-painters who showed the Steiner has also suffered several run-ins artists. At that time, Steiner was rather same landscapes and other genre paintings with owners of a local arts center, as well malcontent, the only post-minimalist in year in and year out. Any serious artists, as with several members of neighborhood the Paris-in-the-rain world of local taste. like Kadish, were either content in their is­ galleries. “Some of the work in Bingham­ She was born and raised in New York City, olation or just disinterested in the kind of ton is good. But in general it doesn’t and graduated from the School of Visual demonstrate enough effort. Artists can go Arts as a major in painting in 1972. further, but instead they stay at a certain Kadish, on the other hand, hadn’t taken “...Space is cheap, there’s point and they’re satisfied. They put the herself seriously as an artist until she was plenty of privacy and quiet work in the realm of where it will be ap­ into her 30s, although she had minored in and, presumably, less pressure preciated and accepted. I don’t see any­ painting at Carnegie-Mellon and has been to com pete in the art-world thing innovative.” drawing and etching full time since 1966. m arket...” So, after five years of trying to find her Her work is primarily figurative, and until place within the local art “community,” this past May, she felt quite certain to Steiner has given up. “Friends of mine remain working upstate. format for inter-artist contact that Steiner around here look at my work and say, Both women moved to Binghamton had hoped to participate in. A couple of ‘That’s it?’ I’d like to invite artists over to because of their husbands: Kadish (now years ago, Steiner began the Artists’ discuss my work, but I couldn’t even think divorced) in 1963 and Steiner in 1972. Action Group, designed to encourage dia­ of five people I’d like to have do it up here. Kadish has a house in the city proper, with logues among Binghamton-area artists, I’ve come to the point where I can by-pass studio spaces in what was formerly a both as an information resource pool and that until I get into New York [City] and church in nearby Pennsylvania, and in a as a means of exhibiting. AAG met several come to people I can talk with.” factory, where she shares a floor with times throughout the course of one year, Steiner misses the critiques, the panel dis­ another artist. She also has a darkroom and managed to set up a. cooperative gal­ cussions, the galleries, and that feeling of and an etching press in her house. lery in a church basement. But there were being understood, the feeling that there is Steiner’s house is a 10-minute drive problems from the outset, namely, that no something constructive in being an artist. outside the city limits, in a semi-rural policy regarding entrance qualifications As romanticized as that may sound, I area. Her attic serves as her studio, and was ever established. The resulting dif­ think it’s a major undeclared reason why she keeps a separate small room as an ferences (in esthetic preferences, in budg­ such places as art communities or colonies office. etary allotments, etc.) between those for do exist. As frenzied, as competitive, as For three years after her move, Steiner whom art was a hobby and those whose art paranoiac and as claustrophobic as they made frequent attempts at situating her­ was the matrix of their existence—coupled have been characterized, such communi­

4 ties are perhaps the only places where Of course it wasn’t Yaddo itself that artists as a group aren’t subjugated as un­ imposed such changes on Kadish’s life. “I productive, hostile or just plain weird think going to Yaddo has made me get in members of society. “I don’t like the City touch with the way I really felt for a very [New York] itself—it’s too crowded and long time, but didn’t necessarily know that dirty. I like living with lots of space around I felt.” She says that for the first time in me,” Steiner said. “But New York offers a her life, she isn’t worried about the more serious attitude about new trends future—about her ability to find a job and and new people. As far as I’m concerned, resume life in a new, urban place. Her Binghamton is just a place to live.” plans now call for a major move in a year’s Life outside the mainstream does have time. its good points. The other side of isolation Of course it is true that plenty of artists is solitude, and for all the time spent choose to make their homes away from the pining for the company of other artists, mainstream, in small towns and rural there are moments—many of them—dur­ areas. Space is cheap, there's plenty of ing which the act of creation blocks out privacy and quiet and, presumably, less any urge for other human beings. Part of pressure to compete in the art-world the problem with living in a place like market. Kadish said she knows artists who Manhattan is that while the pace of life are quite happy working on farms, sur­ can drive an artist wild with creative rounded by their families and animals. I, energy, that energy too often gets dis­ too, have met artists who are content to placed by: keeping up with art-world work out of the mainstream, but they live politics (meetings and panels); keeping up Katherine Kadish, Saddled Man #2, 1977. in groups and were originally from New Charcoal, 41Vix30". with art-world gossip (parties and open­ York City. ings); and survival (nine-to-five and all As physical and spiritual core of the art that). It makes sense, that in a large city urban. What I need—and I’m not sure I community, the art-world mainstream there’s a lot to do. can take it all the time— is a level of provides a physical ground for exhibiting And that’s why there are those rural excitement. New York is important, be­ and, possibly, marketing one’s work. It art-worlds-away-from -the-art-world, also cause it’s still the center of the art world. also serves as a focus, through museums, known as artists’ colonies. The atmos­ Practically speaking, if you live in a place galleries, art bookstores, for artists and phere is relaxed, and artists can work it’s easier to make contact with other public to receive and dispense information uninterrupted. Katherine Kadish left her people. But if you exhibit all over and regarding art and art-related activities. job at the State University of New York at you’re working as an artist you make Art magazines originate from there, and Binghamton (where she teaches drawing) plenty of contacts. So I don’t think it’s so, accordingly, do most critics. But such a for four weeks this past spring to visit crucial to live there.” network as the art mainstream is only as Yaddo, in Saratoga Springs. Before she’d What is crucial, however, is the support productive as the undercurrent of person- gone, Kadish had been fairly satisfied with emanating from a community of people power dedicated to its preservation and her Binghamton lifestyle. She had artist- intimately connecting art with their lives. strength. Living in the art-world proper or friends with whom she felt comfortable We talked about the New York artists I just communing with it in spirit (and in discussing her work. She’d been in nation­ know who claim they haven’t anything to frequent physical trips) is more than al shows, and had already won several do with the art-world’s social life, yet exciting or educational: it is, as Katherine awards, including a CAPS grant. Kadish wouldn’t live anywhere else. “I really Kadish put it, “An enormous burst of valued both of her outside studios (the understand that, although I didn’t be­ validation.” factory and the church). When I’d visited fore,” Kadish said. “The idea that there her a few months earlier, she’d mentioned are a lot of people right outside your door Author's note: Although she’d given up on the the possibility of exchanging living spaces that you don’t even have to talk to. Just local scene, Sherry Steiner brought her work with someone in Manhattan for the knowing they’re there, knowing that into New York City this spring to seek a gallery summer, but she still had every intention they’re working, is very important. And affiliation. Her work has been accepted at the of returning. sometimes, it’s more important that it be Kathryn Market Gallery, and several other At Yaddo, everything changed. “It an art person than it be a lot of friends Manhattan galleries have asked her to return this fall. began instantly when I got there, and it waiting to see you.” carried through to the end. I would go into the studio every day, and I would feel like something very powerful was happening. It was terrific knowing that all the people around me were really good [artists]. You had a feeling of being really special.” Transferring all that positive energy back to Binghamton was difficult, and some got lost along the way. Teaching became even more of an effort: the University’s policy of relegating the arts to the periphery of life only accentuated her new-found isolation. Her church studio, once a relaxing hour’s drive, now seemed too far. The factory space was inadequate because it had to be shared. Kadish’s definition of an ideal space became “a nice loft or part of a E factory I could have to myself.” “It seems inevitable to me now that I will move, but whether that move is going to be to New York I don’t know. There are other alternatives for me, but they are all Sherry L.M. Steiner, Spec Ateteen, 1976. Acrylic and pencil on paper, 13x18".

5 -■ J'5»SIS -■ ' :llen Day Hale, Gloucester Harbor—7Threatening Weather. Etching, 2\'ix .5 Vi”. Courtesy Collection of Howard Beall

-

not as great as it is today. Women were driven in Currier’s carriage to Long Island by Ann-Sargent Wooster involved in all aspects of printmaking from and along the Hudson River to sketch all the nearly anonymous occupations of wood types of rural and urban scenery. Her engraving other artists’ drawings and hand landscapes, with every tree and house in The lack of attention paid to American tinting lithographs to the production of place, were models for those with upward­ women printmakers of the 19th century is their own lithographs and etchings. Most ly mobile social aspirations. The scenes of not entirely a matter of the sexual politics artists fell somewhere in between high and steamboat races, some of her most suc­ of art history. The work of their male low, using the print medium as a market­ cessful, spoke to a different taste, one counterparts has also been ignored and is able outlet for their art. which found in their rowdy excitement, the just beginning to be examined. But, there equivalent of today’s movie and television is a substantive difference in the regard in adventure stories. They also evoked a which the two sexes are held, demon­ “...It scarce seem s a ladylike nationalism aroused by symbols of Ameri­ strated by the fact that it is extremely art that begins with a scratching ca’s might and a nostalgia for the immedi­ difficult to locate prints by many of the and ends in a biting...” ate past. women described favorably in the litera­ Palmer was involved in all stages of the ture of the period. With the exception of lithographic process. She colored the mod­ Mary Cassatt, who is universally acknowl­ els for the colorists to follow (individually edged as a printmaker, most present day Fanny Flora Bond Palmer (1812-1876) hand coloring the lithographs was tradi­ dealers in 19th century prints do not was one of the most successful printmak­ tionally a female employment). She also handle the work of women printmakers ers of the last century, producing close to worked with Currier to develop and manu­ nor do they even have a historical sense half of Currier and Ives’ lithographs. Born facture lithographic crayons. (3) that women at this time raised burin or in England, she arrived in America in the When Palmer began in the field of com­ needle to plate. early 1840’s with her husband, brother mercial printmaking, she was one of the Women printmakers were important in and sister (both artists) and two children. few women involved. As part of the trade the period. Their abundance in late 19th Her husband was not willing or able to school movement, which achieved momen­ century America is indicated by the pres­ earn a living and when he fell to his death, tum in the mid-century and sought to ence of humorous commentary on them in drunk in 1859, James Ives is said to have teach working class men and women the magazines of the time, such as the remarked, “That’s the best thing he ever useful trades, women entered the filed of following ditty published by the journalist, did.” Fanny Palmer became the major illustration and wood engraving. Using an Hood: breadwinner of the family, finding em­ argument which was later to give women ployment first as a governess and then It scarce seems a ladylike art that access to another field of work, stenogra­ holding other “female” occupations before begins with a scratching and ends in a phy, the French writer, M. Lagrange, beginning to work for Currier and Ives in biting. (1) writing in The Crayon in the 1850’s (the 1852. She continued to work for them until article was reprinted in the Cooper Union One of the difficulties however in con­ her death in 1876. (2) Annual Report), closed his appeal for the sidering prints of the 19th century is their Unlike her contemporary, the painter dubious status as high or low art. With few government establishment of schools of Lily Martin Spencer (1822-1902), who also design for women, by likening engraving exceptions, prints were put to a commer­ supported her family and specialized in to needlework: cial purpose whether it was the popular domestic genre scenes of happy families, Currier and Ives lithographs, the plates in Palmer’s lithographs depicted what might Man is not made for sedentary life; travel books, or newspaper or magazine il­ be thought of as masculine subject matter: woman on the contrary, conforms to lustrations. The difference between the hunting and sporting prints, railroad and it without inconvenience; she better fine art print and the commercial one was steamboat scenes and landscape. She was maintains that close, unceasing, the

6 motionless activity which the engrav­ crafts women, carving the blocks of other er’s pursuit demands. Her nimble artists’ designs and how many were origi­ fingers accustomed to wield the nee­ nal artists in their own right. dle, lend themselves more easily to Mary Hallock Foote’s life (1847-1938) minute operations, to the use of small offers an example of a career pursued by a instruments, to the almost impercep­ School of Design alumnae. She learned tible shades of manipulation wood wood engraving under W.J. Linton, long engraving exacts. Cutting on copper time head of the wood engraving depart­ and steel demands also patience and ment and had a successful career illustrat­ minutia much more compatible with ing texts of her own writing on her travels the nature of woman than with that of in the West with her mining engineer man. It is only in womanizing him­ husband for Harper’s Magazine and The self, in some degree, that man suc­ Century. Eleven engraved woodcuts, enti­ ceeds in obtaining the development of tled “Pictures of the Far West,” appearing these faculties so contrary to his in The Century of 1888-89 are often physical constitution, and always at considered her best work. She was includ­ the expense of his natural force. (4) ed in a recent exhibition of “The Woman Although it is difficult to trace the Artist in the American West, 1860-1960,” achievements of specific students of the at the Muckenthaler Cultural Center, Ful­ /arious Schools of Design, because records lerton, California. (7) render them virtually anonymous, the During that period, in 1887 and 1888, development of the School of Design for exhibitions of women etchers were held Women (New York) exemplifies the suc­ in Boston and New York City which were cessful training of women for entry into the part of an etching revival happening in professions of illustration, wood and metal America and Europe and which marked engraving and later photography. It was the activity of women in the field and the founded before 1852 by a group of women Anna Lea Merritt, Louis Agassiz. Etching, in need for an outlet for their work. Unfortu­ interested in providing useful careers for "Century Magazine", 1883. nately, these were one-time exhibitions women of the lower classes. Similar and the women included either became af­ schools were founded at the same time in By 1869, approximately 1500 students filiated with one of the predominately male Cincinnati, Philadelphia and Chicago. had passed through the school. In a single etching clubs or continued working and The school was taken over in 1859 by year, 1871-72, there were 36 pupils in the exhibiting on their own. The work pre­ Cooper Union and became the Free School Free School for Women in wood engrav­ sented in these two shows represented a for Women. It differed from the rest of the ing, 24 receiving certificates and that broad spectrum of the applications of program in its more limited curriculum department earning $2,950.34 for engrav­ the medium. The traditional uses for and its emphasis on on-the-job training. ings executed through the school, (a sub­ etchings were in the travel and gift books The school offered courses in designing stantial sum by the standards of the popular in the period. These used original and drawing on wood, lithography, etch­ time). (6) 1873 was the year the study of work (the books included actual prints) of ing on stone and wood engraving. Al­ photography was introduced, which was to a high quality, such as the prints of Eliza though some paying students were accept­ spell the end of the necessity for wood Greatorex, to satisfy the public’s hunger ed, most of the women attended without engraved illustrations. In listing the for picturesque views and distant vistas. cost. They earned the money for living achievements of former pupils, the A nnual These were gradually replaced by inde­ expenses by a sort of work-study program Report of that year states one alumnae pendent suites of prints of similar subjects where they undertook engraving commis­ earned $1,000 for newspaper illustrations. such as those produced by Gabrielle de sions through the school while they were We do not know for what this woman Veaux Clements and Ellen Day Hale. As studying. The Annual Report of 1860 earned her money. Did she follow fires part of the painter-etcher movement, a states, “Already many of the pupils have with her drawing pad or sit in her parlor new wave of etchers was appearing that qualified themselves for the practice of executing clothing advertisements? The included Mary Cassatt, Mary Nimmo wood engraving as a business, and several school’s records do not provide the identity Moran and Mattie Twachtman (wife of the books have been illustrated with great of these women and we may never know painter, John Henry Twachtman), who success in the school.” (5) how many of them were merely skilled saw the technique as a special way of

Currier and Ives, New York Bay from Bay Ridge Long Island, 1860 (after Mary Cassatt, By the Pond, c.1898. Drypoint and aquatint, F. Palmer). Hand-colored lithograph, l4VMary Nimmo Moran, Between the Gloaming and the Murk, c. 1886. Etching. Courtesy the ich in 1871 and Summer Etchings in author. Colorado, accompanied by notes from her travel diary were published in 1874.(9) the art of engraving, which permitted her artists. Four plates made in 1844 by Greatorex brought a painter’s eye to these to execute her prints herself. She was ac­ Sarah Cole, sister of Thomas Cole, were scenes, and her paintings brought her companied on her travels by her daughter found and printed for this exhibition, election as an associate member of the Kathleen (1851-C.1910), also a painter, establishing her as the earliest woman National Academy of Design in 1869, the etcher and illustrator. Kathleen’s etchings etcher in America. The plates and prints only woman member at the time. A wall of were exhibited with those of her mother in appear to be no longer extant. In her her pen and ink drawings was included in the 1888 Union League Club (New York) catalog essay, commenting on the vitality the Women’s Pavilion of the 1876 Phila­ show. of the work, the prominent critic of the delphia Exhibition. Greatorex became This show was a large exhibition of period, Mrs. Van Rensselaer, who was one deeply concerned with print quality, lead­ women etchers, devoted exclusively to of the organizers of the exhibition wrote, ing her in 1879 to Paris where she learned Americans. It included 500 prints by 35 “In this country it is very different (from Europe). It would be a singularly incom­ plete collection of American Etching that should contain no plates with a feminine signature.” (10) Mary Cassatt (1844-1926) and Mary Nimmo Moran (1842-1899) were the most SOHO 20 striking artists in the show. Cassatt is the only widely known woman printmaker of the period, having made over 200 prints. One hundred were drypoints, and with the exception of two lithographs, the rest were Elena Borstein her special combination of drypoint, soft Noreen Bumby ground etching and aquatint. She began Diane Churchill making prints about 1879 and exhibited Maureen Connor four “etchings” in the Union League Club Mary Ann Gillies Joan Glueckman show. These were probably drypoints, Eunice Golden because Cassatt rarely used conventional Shirley Gorelick etching and characteristically began all Diane Kaiser her prints with a drypoint drawing. The Cynthia Mailman attraction of the medium for her lay in its Vemita Nemec demand for excellent draftsmanship and Brenda Price she said of it, “In drypoint you are down to Marion Ranyak the bare bones, you can’t cheat.” (11) Kate Resek In 1890, Cassatt was excited by the Rachel Rolon de Clet exhibition of Japanese Art at the Ecole Halina Rusak Nationale des Beaux Arts, Paris. One of Lucy Sallick her greatest contributions to printmaking Rosalind Shaffer lies in the 10 prints of women in richly Eileen Spikol patterned domestic interiors done in 1890- Sharon Wybrants 91, in which she attempted to imitate the polychrome Japanese woodblock print in aquatint. To secure the print quality she wanted, Cassatt worked closely with her 99 Spring Street New York, N.Y. 10012 (212)226-4167 printer, M. Leroy. The printing is a great work; some­ Hours: Tues —Sat. 12:00—-6:00 p.m. times we work all day (8 hours) both as hard as we could work and only

8 printed eight or ten proofs in the day...I drew an outline in drypoint and transferred this to two other plates, making in all three plates, never more for each proof. Then I put SARI DIENES an aquatint wherever the color was to be printed; the color was painted on the plate as it was to appear on the “Portraits” proof... The set of ten plates was done with the intention of attempting an imitation of Japanese methods; of September 10 — October 5 course I abandoned that somewhat after the first plate, and tried for A.I.R. Gallery more atmosphere. (12) 97 Wooster Street "assatt showed these prints with much New York City 10012 lopular and critical success at her first (212) 966-0799 me-woman show at the Durand-Ruel Gal- sry in 1891. She made the decision to how alone for the first time at the age of 17 when she was refused admittance to the lewly formed Societe des Peintres-Grav- urs Francais because she was not French. Exceptional amongst her later prints is fy the Pond (1898), in which three-quarter ength figures of a mother and a strangely ingelic/satanic boychild fill the fore- ;round and are outlined against a semi- :ircular frieze of flat tree shapes. In prints Professional Artists Guild, Box 11, Roslyn Heights, Long Island uch as this one, Cassatt goes beyond her President: Anne Orling — (516) 621-4792 irigins in Japanese prints to prove the trength of her personal vision and to jring the art of printmaking to a new level. Mary Nimmo Moran had no art training Lorie Alexander • Marilyn Kaplan Marge Rothschild jefore she married the painter Thomas • Eleanor Ambrose • Zena Kaplan Rina Rotholz vloran in 1862. The style and quality of Jonas Antell Caroline Kaplowitz ler work, something recognized in her • Dr. Stella P. Russell Hannah Katz >wn time, was radically different from the Miriam Axelrod • Shirley Samberg jombastic effects espoused by Moran in Joan H. Banov • Rita Katz Suzanne R. Schild .lis landscape paintings and etchings. As • Lee Batterman Peggi Kayton Estelle Schutz Dart of their first trip to Europe in 1866, Rose Hart Betensky Louise Kramer Constance Schwartz :hey met Corot in his Paris studio and June Blum • Eleanor Kruger • Bea Seiden risited Fontainebleau, a center of Barbi- • Ben Borax H.W. Kurlander Edith Seltzer ffln plein air painting, to paint together Harriet Bromberg • Ruth F. Levine Rhoda Sherbell jutdoors. Moran condemned Barbizon Catch i • Sunya Levy Florence S. Siegel painting, but his description of it could Bernice Dauman Margot Lovejoy Hilda Skolnick ;asily be a diagram of what was to be one • Mario DeLuca Jane Lutnick Louise Spelman sf the strengths of Mary’s etchings: • Lois DiCosola • Viggo Holm Madsen Harriet L. Stanton “French art in my opinion, scarcely rises Katinka Mann to the dignity of landscape—a swamp and Ruth Eckstein Bronka Stern Helen Meyrowitz a tree constitute its sum total. It is more Edi Fanto • Lydia Behr Sugarman limited in range than the landscapes of any • Lilian Feldman Agnes Mills Sylvia Sweigenberg other country.” (13) • Ina Friedman Helen Muller Ruth Thaler Until ill health forced her to stay home, Madeline Gesser Seymour Nydorf • Shirley L. Toran they traveled together as companions and Estelle Ginsburg • Marian Oken Mary Tressler fellow artists, including one trip to the Far Helen D. Goldberg • Anne Orling Bert Weinmann West in 1873. Before leaving for another Elsa Goldsmith • Lucille Orzach Anna Wenig trip West in 1879, Moran coated a number Coco Gorden Kent Ozarow Charlotte Weston of copper plates for her to experiment on Shirley Gorelick Helen Quat Aida Whedon while he was gone. The first or second Nance Goren Gail Raab Trude Wiesen print she made was a sketch done outdoors Marilyn Greenberg Piri Rame • Marjorie Wilson of a bridge over the Buskill River, accom­ Shirlee Greenberg Dr. Joyce Rosa Hazel Witte panied by her young daughter, Ruth. Working out of doors, closely with nature, • Adriana Grishaver Nonny Rosenman Frieda Yamins was to characterize her etchings. The hori­ Sandra Gross Alex Ross Selma Yarm zontal sweep of landscape, the brooding Marilyn Hochhauser Beatrice Brook Ross Anne Youkeles abstract sense of mass, sometimes dark­ ened by the use of the roulette were repre­ • board members sentative of the best of Barbizon plein air painting and her interpretation of Pre- Raphaelite thinking about nature. In etching, Moran had found her medi­ um. Her paintings had been exhibited at continued on page 33

9 Photo: Gwyi

A U T H O R 'S N O T E ----- PARTI Betty Parsons, through her involvement with abstract expressionist “...In those days, women painters, has long been a prime mover in the arts. From her gallery—active didn’t really respect for three decades—emerged some of the most influential painters of the ’50s: each other. I think they Jackson Pollock, Clyfford Still, Barnett Newman, Mark Rothko, Ad Rein­ do respect each other now...” hardt, Hans Hofmann and Adolph Gottlieb. Betty Parsons is a stunningly theatrical woman. Seventy-seven years old, Helene Aylon: I ’d like to know about your she is strong, independent and upper-class. Her consciousness has been contacts with women artists in the ’50s. molded by the era she came out of. However, in the tumultuous and often You knew Agnes Martin. tainted world of art dealership, she has been consistently ethical, and artists Betty Parsons: Agnes Martin I met out in who have not yielded commercial returns have nonetheless retained her New Mexico. She told me she was a loyalty over the years. An artist in her own right, she has had more than a painter. She was coming to New York and dozen solo exhibitions, the most recent in January 1977 at the Komblee could she come and see me. I said, “by all Gallery in New York. means.” She came to see me. She was What follows is a partial transcription of a conversation taped on January extremely poor, no money. I bought a couple of her paintings and I said to her, 19, 1977. It took place first at a private dinner club, where Betty is a member, “I can not take you on now, but eventually and then continued to her apartment on Central Park West. It was continued I would like to.” She went back to Taos, briefly on her visit to California in April. Parts I and II explore Betty Parsons’ New Mexico, and took a job as a librarian. connections to the art world, and to women in particular; Part III, her views I finally went out there and went to her toward abstract expressionism. Interestingly, she articulates the inherent link studio and thought the paintings were between action painting of the ’50s and American expansionism; to her, marvelous. I said, “All right, I’ll give you a action painting was energetic and masculine, inseparable from the show.” I think she had her first show American Dream. There’s a strong correlation in her attraction to both the with me in 1960. I remember getting a “heroic” aspects of these artists and to the American Frontier mystique. couple of paintings sold to keep her afloat and then she went back to New Mexico. Two years later I gave her another show, when I was at 15 East 57th Street, and that HA: Hedda Stem was in your gallery for was quite a success. years. HA: You became very friendly with her. BP: Yes, Hedda Stem. She has been with BP: Oh yes, we were always good friends. me for 34 years. A very electric but In fact I actually went on a pack trip with sensitive person. But I think she was her. She was a fantastic outdoorswoman. brought up with the domination of the She had grown up on a farm with horses male, coming from a Rumanian family. and was the national swimming champion But she managed to get away from it and of Canada for two or three years. When she is very much on her own now, and sees she moved to New York she got a big through all of it. She was married to Saul studio down on the Bowery. And I used to Steinberg for 15 years. Saul’s material go down there and actually did a lot of came out of going to night clubs and paintings in her studio. I wrote this to parties, and he wouldn’t go out without Agnes: “May the leaves of yesterday not her. They finally parted company because follow you. May the birds of the future she could never get enough work done. guide you. And the voice of the wind HA: You showed Lee Krasner, too. inform you and the rays of the sun BP: Oh yes, I knew Lee Krasner through embrace you.” Jackson Pollock. She wanted to be in the HA: What made you write that? gallery and I said that I don’t like to have a BP: She was leaving. She left New York! It wife and a husband in the same gallery. was a farewell poem to her. Pollock convinced me that it was unim­ HA: It was an act of great independence portant, and there was no competition for her to move away by herself. there at all. I feel that Pollock respected BP: Agnes Martin was an extremely inde­ what she did, and of course, she thought pendent woman. She took care of all her In her studio, surrounded by sculptures-in- he was great. brothers and sisters. She took care of progress. Photo: Gwyn Metz. HA: When Pollock left, I heard that you everything, and everything she did, she wanted her to leave, too. learned from. She learned about life know Louise Nevelson loved men. She BP: No. Before Pollock left, Lee said she through it. When she talks about happi­ wasn’t out to please them, but she was out didn’t want any more shows. By the time ness and joy...there is a big difference to have fun with them. And I think Agnes she wanted to come back, I was filled up between them to her. Joy is a spiritual also. Her whole life was out to enjoy what­ again. thing. Happiness is a worldly thing. I ever relationship she had. HA: Did you feel she was a strong woman? know what she talks about. Happiness has HA: When did you connect with Louise BP: Oh yes, very strong. I don’t think Lee to do with this world and Joy has to do with Nevelson? was ever too much in favor of women. I what made this world...But she also had a BP: I remember Louise Nevelson’s show at don’t think she ever went to any trouble to great many hostilities. She disliked a lot of Grace Borgenicht’s. She was very un­ help a woman. In those days women didn’t things. She was a fighter. And a thinker. known. I thought her show was so excit­ really respect each other. I think they do And a poet. If she didn’t like something, ing. And I fell in love with a piece, and I respect each other now. she came right out and said it. had no money, very little money. Louise HA: In the '50s and '60s I feel that women HA: That is something I imagine you said, “Cut it in half.” I think the piece was dealers related differently to their male could identify with because you do the $450. And I bought it for $200 or $250. and fem ale artists. The classic story is the same thing. That is something I notice I’m very proud of it and it has been shown one about Jackson Pollock and Peggy about women artists of the '50s. They're all over. I call it Mistress of the Moon. I Guggenheim. You know the story...Pol­ tough. They weren't out to please men. admire Grace Borgenicht for finding her lock urinated into the fireplace to put out BP: They weren’t out to please them, but I and showing her. the fire. Peggy Guggenheim was enchant-

Betty Parsons in her gallery with several of the major artists she represented in the late 1950s. From left to right: Ellsworth Kelly, Richard Pousette- Dart (?), Parsons, Ad Reinhardt, Kenzo Okada. She had written in a catalogue: "The American artist...is at the spiritual center of the world...they have the background of the American Dream. "

11 ed and thought, "how original!”, and took call the invisible presence. We all have it. an interest in him. If Lee Krasner had Everything has it.. .a room has it. And that done that, I don't think it would have been is what I am intrigued with...especially quite so fascinating. when I am working. That invisible pres­ BP: I guess so, I guess so. I never thought ence. You know that big painting...the in terms of whether they were male or one you see when you come into the big female. I didn’t give a damn. room. When I was doing it, I was filled HA: These are very subconscious kinds of with that invisible presence. It was like a feelings. journey. I was riding into some strange BP: I always got on with the artists. A lot country that didn’t exist. You know the of them fell in love with me. Their names most permanent thing in this world is the will be nameless. We had discussions. I invisible. You can never get away from it. made it absolutely clear what to expect You could not put an arm out this way if from me, and we always got on. there was not something invisible to put it HA: What about you? Were you an artist into. in those days? BP: I have worked at painting and sculp­ ture since 1920. HA: Were you visible as an artist? PART II BP: Well you see, I had to make many “...I have had tremendous decisions about that. I had gotten a nourishment from women...” divorce in 1921. During those years I worked right alongside Giacometti. I spent Saul Steinberg, Profile of Betty Parsons, 1958. 8x5 Vi”. Photo: Geoffrey Clements. HA: Do you have any close women eight years working very hard. I was friends? extremely serious about it. I wanted to be a BP: Oh yes, I have many close friends. But sculptor. My greatest love was sculpture. been great fun—all the fighting, arguing, the thing with me you see, is that many of When the crash came in 1929,1 lost every­ great fun! That was when I was in my my close women friends are dead. My very thing. I went to California and taught. teens. That wasn’t my destiny. If it had close women friends are dead. I had a very HA: Where? been my destiny, it would have happened. close woman friend in France, Mrs. Em­ BP: I taught privately in my own studio in HA: Betty, I look at your piece that you manuel Bove, a sculptress, who is dead. A Santa Barbara. To the young people there. traded with me, and it reminds me of very close friend in England, Adge Baker, I was glamour, glamour to them. They secret places, secret dwellings. Almost is still alive and I still get letters from her. were dying to learn something. child-like, like children playing with She is in her 80s. I went over there to get a HA: Did you ever want to have a child? blocks and making magical things. divorce. She was 10 years older than I was. BP: When I started out I wanted to have BP: Well I have that Irish thing in me. I I met her through friends; she took an 12 children, let me tell you. It would have have always been fascinated with what I interest in me and I was flattered. Ten years older—that was quite old then. It’s nothing now! And really, I was very pleased. Very extraordinary Englishwom­ an. And she gave me hell all the time; she was extremely critical. She never let me do I anything but the best. She had quite an in­ 52 Main Street, Port Washington, New York 11050 / 516-883-9700 fluence on me to keep on my feet and not be dominated by the male. I fact, I don’t think I would be alive today if I never met this Englishwoman. She was an artist. She saw so clearly, she was so wise. She saw through the male at a very early age. She Arlene Absatz Doris Lanier had nearly always lived alone, the way that Lorie Alexander Shirley Lazarus Toran I have nearly always lived alone in my life. Marjorie Apter-McKevitt Katinka Mann You see, I had this thing about wanting Charlotte Brown Rachel Maurer to be independent. I had this friend who Linda Cohen Helen Meyrowitz said she would subsidize me for two years. I thought it over very carefully, and I W endy Ehlers Cynthia Mollod realized that at the end of two years I Phyllis Floyd Lucille Orzach would have done a lot, but where would I Estelle Ginsburg Brenda Price be? I would have to take a job, for surely Shirley Gorelick Barbarie Rothstein Salit no one would buy an unknown painter. Sandra Gross Maxine Schnall HA: Who was this friend? Bernice Halpern Connie Schwartz BP: Well she is dead now...Dorothy Hay- Maxine Hayt Edith Seltzer dell...She is dead but she was my best Marilyn Hochhauser Dee Shapiro friend. Oh my god what a friend she was. Louise Kramer Mary Tressler She paid my dentist bills. She was a very A lice Landes Benson Woodroofe rich woman that I knew long before. She married this very rich man and had a Susan Zises series of marriages. She was always my friend. I helped her in any way I could. She believed in me. And I believed in her. HA: Was she in the art world? BP: She collected. She was married to a Long Island’s Cooperative Gallery of Women Artists prince. Cole Porter and Monty Wooky were her friends. She really was very interested in society, and the worldly

12 whirl. I am not a person to be interested in that. HA: You are sort of in and out of it. BP: Yes that is right. HA: You knew Martha Graham, Marlene Dietrich, and after all, you played tennis SYLVIA with Greta Garbo! BP: Two or three times. Interesting the way I met her. I was asked on Christmas Eve by her ghost writer, Salka Fiertel. She SLEIGH said, “Come over and we are going to dress the tree.” I got there and Salka said, “go up to the attic and bring down a great big Paintings box of Christmas dressings...” So I went up there, and Greta and I stared at each 1972—1976 other over the top of the box. She was very beautiful. So we dressed the tree. There were candles. The Ger­ mans always have candles on their trees. I Gerrit Henry, 1976, o/c, 56x54". was standing at the mantlepiece, with a glass of brandy, and she was coming toward me with a candle she was going to TURMAN GALLERY, STATE UNIVERSITY OF INDIANA put on the tree. I leaned forward and AT TERRE HAUTE — OCTOBER asked, “Which one of us burns more brightly...me with the brandy, or you with NORTHWESTERN UNIVERSITY, EVANSTON, ILL. — NOVEMBER the candle?” And she got very serious and said, “You burn much brighter than I, because you burn from within, I, with the candle, am burning from without.” I was fascinated. She was very shy. Her boyfriend was Mamrovillian, the director, and he was VISUAL INTERPLAY very jealous. She liked women very much. I married a Marjorie Abramson • Ceramic sculpture man who was jealous of everything, too. Frances Dezzany • Dimensional fiber forms When I got interested in a book, in a place, in a human being...I think the Marlene Lenker* Paintings, Prints, Collages reason is that men feel they really haven’t got you, and that makes them jealous of September 28 — October 22 any close relationship. HA: You yourself were not necessarily male-identified. Bergen Community Museum Museum Hours: BP: No, you see I was always very critical Ridgewood & Fairview Avenues, Paramus, N.J. Wed—Sat 1—5 of the male. Because there were so many (201)265-1248 Sun 2—6 boring males around me. They were ath­ letic, rich and aggressive and they were insensitive. I didn’t like any part of it. I thought they were all bloody bores. HA: And all those feelings we had for women were considered crushes. BP: Oh, I’ve had plenty of crushes on women. At school I had a crush on my teacher, a literature teacher. I was scared to death of some teachers, but I had RONNIE ELLIOTT crushes on them. HA: Were you shy and secretive? BP: I was brought up in a very New Recent Collages England background where you never showed to the public what you felt, espe­ cially if it wasn’t according to Hoyle. I remember my mother saying to me, “Betty September 23 — October 15 it doesn’t matter much what you do, but never get found out.” That was the philos­ ophy that she had, which I didn’t like very much but I knew what she meant. Coming from a very rigid background, the gossip goes on—they tear you to pieces...Because everybody’s jealous of anybody getting any II of the happiness that they are not getting. So if I had a boyfriend or if I had a girl­ friend and got too close, never let the „ /4NDRE Z/4RRE GALLERY -* 41 EAST 57 TH ST NEW YORK. NY 10 02 2 (212) 752-0498 world know it. Unless you get married and all that. continued on following page

i.l HA: But it's a pleasure to be honest. BP: But take truth: I agree with what the Greeks say, “Truth is too sacred to tell.” HA: You have to tell it to yourself first. BP: I have a dialogue continually with my­ self about the truth but I don’t tell it to SANDRA everybody. HA: Cautiousness can be paralyzing. GROSS BP: It’s a form of self-preservation. HA: Now with feminism, we have our MIXED MEDIA COLLAGES sisters to talk to. BP: I think in the past, women have been enemies to each other. In the 100% female, which I can’t stand or understand, A n ot-for-profit graphic design service every other woman is her enemy, because partially funded by the New York HELEN other women may get in the way of getting State Council on the Arts for artists, musicians, craftspersons, and cultural MEYROWITZ her man. And in the 100% male, he is out organizations. to seduce every woman he can, without any sense of responsibility about the rest of it. DRAWINGS That’s the dog, I call it. The dog and the 464 Greenwich Street bitch. And I can’t stand the dog and the New York, New York 10013 bitch...In my childhood, I knew there was 212 925-5436 something about them that made me un­ R.D. 1 Box 135 comfortable. The balanced human being Rosendale, New York 12472 September 28 — has both male and female... If you are born 914 658-8420 a female you predominate in the sense that October 16 you are the one who has to carry the race. Male is the will power. Male has the will to say I will do this, I will do that. ■ Design, composition, mechanicals HA: B ut you have the will. ■ Copy writing and editing BP: Yes...I have lots of the male in me. ■ Photography CENTRAL HALL ARTISTS (You see, there are a lot of men who have ■ Design involving color xerox 52 Main St., Port Washington, N.Y. 11050 tremendous feeling...a rounded person Wed—Sun. 12:00—5:00 will have both.) I think the world now is becoming androgyn, as the Greeks called it. You see people walking the streets today and it is very hard to tell which is the male and which is the female. HA: Clear cut lines are rigid. BP: I think there are three things we have

In New York, no control over. We have no control over W OMANART may be purchased at: our birth, we have no control over our death, and if we are sincere, we have no SoHo: control over our feelings. Jamie Canvas, 148 Spring St. New Morning, 169 Spring St. I have got to read you something if you Printed Matter, 105 Hudson St. would like. Let me try and find it...“Love Jaap Rietman, 167 Spring St. SoHo Books, 307 West Broadway is a fire burning in one’s breast. It needs untitled postcards, 159 Prince St. no object. Sometimes it is the nourishment plus selected galleries of longing of what one never met before. Midtown You might meet it anywhere, the Master Gotham Book Mart, 41 West 47 St. Pan Am Building, Lobby Newsstand, 200 Park Avenue said, ‘feed my sheep,’ t’was a command.” Rizzoli, 712 Fifth Avenue In other words, everywhere there is nour­

West Side ishment, if we know how to take it. It’s a New Yorker Bookshop, 250 West 89 St. terrific poem. Haven’t seen this woman for Papyrus Books, 2915 Broadway (114th St.) Womanbooks, 201 West 92 St. years. I just suddenly got this. She sent me this poem, “...I wrote this poem and I East Side Captan Bookstore, 1492 Third Avenue (nr. 84th St.) thought of you, so I’m sending it to you...” Hyde Park Stationers, 992 Madison Avenue Oh, I’ve had tremendous nourishment Wittenbom, 1018 Madison Avenue from women. Because they like me. Wom­ Brooklyn en like me, you know. Community Bookstore, 143 Seventh Avenue HA: You don't play games. You could love Long Island Central Hall Artists, 52 Main Street, Port Washington a woman, and they sense that.

Upstate BP: Yes, they know it, they know it... Syracuse Book Center, 113 Marshall S t., Syracuse

Massachusetts 100 Flowers Bookstore Cooperative, 15 Pearl S t., Cambridge (plus other Cambridge locations in the near future) PART III “...Well, I tried to be free. WOMANART will soon be on sale in other cities and states across the U.S.A. Please ask for it where art or feminist periodicals are sold. In Europe, they weren’t even struggling to be..."

HA: I think at the very beginning you saw

14 some of your artists as the legends they were to become; you recognized this quali­ "Studio Floor Still Life #12," 1977, o/c, 46x56" ty of rugged individualism. BP: The individual has always interested me. I can’t stand packs. HA: The individual man or woman? BP: Let me see how I can phrase this...If I have to be in the company of either men or women, I’d rather be in the company of men. But I’d prefer a woman who was an individual. HA: And when you say you can't stand packs... BP: The general public is dead. All they care about is how they’re going to pay their rent and what they’ll put in their stom­ achs. I have always been interested in the creative approach to life. It is regenera­ ting for me. And what I call the higher dimensions. The interpretation of God has failed. You know, Christ was the LUCY SALLICK greatest artist the world ever bred, because SEPTEMBER 10 — OCTOBER 5 he understood what mankind was all about. Mankind is not here for stuffing M H H I 2 0 "Catalogue stomachs and fornicating. 99 S p rin g S t., N Y C 10 012 available with text by Lenore Malen HA: You do see artists as Godlike. And you wrote about some o f your artists with a kind o f reverence. BP: It’s what I call The Unknown Quanti­ ty that interests me. You read that thing that I wrote about Ad Reinhardt, didn’t you? “...who put the light into the shad­ ows. And crossed the horizon numerous EILEEN RAUCHER- SUTTON times.” You know, he was a great traveler, fantastic traveler, he had a thousand slides from all over the world, “...and death, with many intricate lines who turned the November 5—24 day into night, in his struggle with dark and light.” Which are his pictures. Fan­ tastic pictures. God! Now, Tony Smith is another, I wrote a thing to Tony. “...The WARD—NASSE GALLERY sky looked down and all around the earth 131 Prince Street was under something grand; it was not New York City 10012 rocks, it was not sand, it was the scale Tues.—Sun. 11—5:30 upon the land. It reached the summit of the light, and tossed the day upon the night.” HA: Whew! There's a feeling of something very huge. I t ’s like the quote from your interview in the New Yorker magazine. Can I read it? You're describing your initial reaction to the abstract expression­ ists: “It was the expanding world they were after. Barney was doing it vertically, with that great plunging line—his ‘zip’ as he PERLE FINE called it. Rothko was doing it horizontally. Reinhardt, by trying to make his pictures more and more invisible, I guess. Still was always the most romantic, with those dark, jagged shapes. He always makes me November 8—26 think of an eagle or a stallion. And Tony Smith—his sculpture holds down the horizon..." (God, Betty these are potent images. Not many dealers write like this about their artists...) Then you compare American painting to European painting. “I realized they were saying something no European could say...Europe is a walled city— at least, it R ll always seemed that way to me. Pollock /4NDRE Z/4RRE G4LLERY released the historical imagination of this 41 EAST 57TH ST NEW YORK, N.Y 1 0 02 2 (212) 752-0498 country. I've always thought the West was continued on page 20

15 by Rosa Lindenburg

Wallerand Vaillant, Maria van Oosterwijck, 1671. 96x7Scm. Amsterdam, Rijks- museum. ©Fotocommissie Rijksmuseum Amsterdam.

Although Maria’s family had close con­ many of her colleagues in terms of an PARTI nections in Delft, there is no exclusive international reputation and in being fi­ Life and Work proof that she kept a studio in Delft, as nancially well-situated. Houbraken mentions. Her grandfather, A notarial act of January 26, 1678, Along with Rachel Ruysch, Maria van Jan Barentz van Oosterwijck became a Delft, speaks of witnesses for Maria van Oosterwijck (1630-1693) attained fame as vicar in Delft in 1597, and supposedly she Oosterwijck, “paintress of renown,” (9) for a 17th century Dutch flower painter. stayed at his house. (6) Certainly Maria the handing over of two paintings to the Following the booming interest in gardens must have been influenced by the cultural Amsterdam merchant Melchior Lidel. He and such exotic flowers as the tulip, and artistic activities of the near-by city of was to transport them to Munich. From flower painting emerged as a distinct genre Delft. there they were to be taken to Vienna in the last quarter of the 16th century. In From a very early age Maria had insist­ where they would be sold on Maria’s 17th century Holland, the center of horti­ ed that she would become an artist and she behalf. culture, flower painting became popular was to devote her whole life to art. Hou­ In a deed drawn up on March 2, 1689, and a well-paid occupation. Van Ooster­ braken states that it was Johan de Heem Amsterdam, Maria declares, at the re­ wijck fit into this genre, in which quite a (a.k.a. Jan Davidsz. de Heem) of Utrecht, quest of the Chamberlain of Rifbold, few women specialized. (1) who introduced her to the art of flower- Elector of Saxony, that she had witnessed The reconstruction of the artist’s life is painting. (7) Later I will dig a bit further the removal of three of her paintings from difficult, as the leading source about male into this doubtful apprenticeship. a locked case in the offices of Mr. J. and female painters in this so-called Gold­ According to Houbraken, Maria later Uyttenbogaert “Concierge of this City” en Age, Arnold Houbraken (1719) (2) is became so famous that she received com­ [Amsterdam], The Elector had previously not always reliable. Maria was born on missions from various royal courts. Louis seen and bought the paintings at Maria’s August 27, 1630(3) in the vicarage of XIV of France had one of her works in his studio. An act dated May 12 states that the Nootdorp, a village near Delft. Her father, art collection. Emperor Leopold of Ger­ Elector paid 1,500 guilders for those the vicar, was Jakobus van Oosterwijck. many was so satisfied with her work that pieces. (10) She had a brother Lambertus and a sister he presented her with a portrait of himself Maria could render embellished imita­ Geertruyt. In 1657 this sister would marry and his wife set in diamonds. William III, tions of nature; however, states Houbrak­ Jakobus van Assendelft from Leyden. (4) King of England and Stadholder of the en, her slow work pace resulted in there Their son, Jakobus, would, according to United Netherlands, paid her 900 guilders being few of her works in circulation. The Houbraken, later be raised by Maria as if on commission. The King of Poland went small number (about 20) of surviving he were her own child. (5) so far as to pay her 2,400 guilders for three works confirms Houbraken’s statement. pieces. Her first dated work is of 1667, others date This article has been reworked and translated There is evidence that her works were from the publication Delftse vrouwen van toen from 1668,1669,1685,1686 and 1689.(11) door Delftse vrouwen van nu (Women from sold to foreign countries and courts. The Most of the paintings are flower paintings, DelJ't in the past by Women from Delft nowa­ majority of her paintings are still to be considered to be of a high quality in days). Delft. 1975. This publication was a found in foreign countries, particularly in contribution for the International Women's (former) royal collections in London, Paris Note: Poems and parts of the text translated by Year and will soon see a second edition. and Berlin. (8) She must have surpassed Kerry O 'Sullivan. lf> comparison with the many followers and Baroque bouquets combining Dutch and imitators of Jan de Heem. Flemish traditions, had an influence on Maria’s character is described by Hou- her as he had on many others. He did not braken as both virtuous and devout as well limit himself to pure still-lifes with flowers, as cheerful. He cites that she was courted but combined these with fruit images and by the still-life painter Willem van Aelst, a motifs of “vanitas” (vanity in connection story that was confirmed by Nicolaas with the transitory nature of life.) (19) Verkolje who paid a visit around 1716 to When compared with de Heem’s, Mari­ Geertje Pieters, Maria’s former maid­ a’s paintings were less varied in presenta­ servant and pupil. tion and composition. A few of her pieces Geertje related that Maria was not very depict vanitas motifs. The best and most interested in the prospect, as van Aelst was beautiful example was recently exhibited well-known as a “loose chap.” In order to in the U.S.A. and is from the collection of disengage herself in an honorable manner, the Kunsthistorisches Museum in Vien­ Maria initiated a “trial year,” whereby na. (20) Her vanitas motifs included ob­ Willem was compelled daily to work in his jects connected with the passing of time, studio except for a few hours every day as broken flowers, an account book, a skull, means of relaxation. She could easily keep an hourglass, and were combined with him under surveillance, as their studios symbols of the personal struggle through touched each other. If he was not at work life as in the title “self-stryt” (struggle at a prescribed time, she then would cut a Flower Still Life. Oil on canvas, 100x82cm. within oneself, a favorite humanistic notch in the window sill. The result was Augsburg, Stadtische Kunstsammlungen. theme) and the knapsack symbolizing the that “Van Aelst, who could well assume journey through life. The butterfly is a that he had too many black marks against maid-servant Geertje Pieters and who has symbol appearing often in Maria’s paint­ his record to talk his way out of, did not never given any living soul any cause for ings, suggesting resurrection after life on put in an appearance henceforth.” (12) displeasure or offence.” (15) earth. Still unmarried at the age of 63, Maria Knowing now as much as possible about The vast majority of M aria’s work is in died on November 12, 1693 at the vicarage Maria van Oosterwijck’s life, it is time to the realm of the flower still-life. A bouquet of Uitdam, a village north of Amsterdam. return to her work. Scholars disagree with stands in a vase on the central axis of the She was then living with her sister’s son Houbraken’s statement that Maria was the canvas, placed in colorful contrast to a Jakobus van Assendelft who had become pupil of Jan de Heem. (16) dark, unclear background. Small in­ the vicar of Uitdam. (13) De Heem (1606-1683/84) was a native of sects alight on leaves and petals; flowers The story concerning Willem van Aelst Utrecht, who settled permanently in Ant­ and vase are set on a marble tabletop. Her is not without significance, as he was one werp after 1636. He continued to travel flower paintings, however, are more so­ of the important still-life painters who and often returned to Utrecht, where he phisticated than those of many of her could have influenced M aria’s style. Also, remained a member of the St. Lucas Guild contemporaries. Intermingled are moral­ the story has a follow-up in 19th century until 1672. (17) It is very possible that istic quotations, as the above mentioned Dutch literature, that relates to the begin­ Maria was under his tutelage during one butterfly. The details are treated very nings of consciousness among educated of these journeys. Mitchell believes that delicately and precisely with many subtle women. This, too, I will pursue later. Maria went to Antwerp at the age of 28 to variations. Geertje Pieters is often mentioned in study under de Heem. (18) The only example of this work presently connection with Maria van Oosterwijck in It is certain that de Heem, with his included in a public collection in the contemporary sources. The former, how­ ever, was copying gratuitously from her teacher, Maria, in composition and style. (14) Geertje confirms the story between Wil­ lem and Maria according to Verkolje. In fact there are notary acts from the period which confirm they were neighbors, but not in Delft, as Verkolje mentions, in Am­ sterdam. In a deed dating from July 25, 1676, Amsterdam, Maria complains of the phys­ ical and verbal abuse received from the maid-servant of Willem van Aelst, a “painter living directly opposite” on the Nieuwe Keizersgracht in Amsterdam. Ma­ ria and Geertruit [Geertje Pieters], her servant who lived with her, were leaning over the lower part of the door and sent the witness Neeltje Jans to the house of Van Aelst to fetch a ‘rain garment’ Maria had left there. Van Aelst’s maid refused to give it, saying “I won’t give it to you...those beasts, those filthy pigs, hanging over the door there.” Maria was so shocked that later in that year she wrote a letter to the Aldermen of Amsterdam asking for their help. She describes herself as a “young daughter (or, unmarried woman), a citizen [of Am­ Vanitas. 1668, signed. Oil on canvas, 73x88.5cm. Vienna, Kunsthistorisches Museum. Courtesy sterdam] who keeps house alone with her Los Angeles County Museum of Art.

17 Netherlands is a flower painting in the ment for a woman, since the competition depot (!) of the Mauritshuis, the Royal was sharp and even as famous a male artist Paintings Collection in the Hague. The as Jan Steen had to support himself with work is a good example of her mature another job. work of the late ’60s or later. (Her work Maria’s fame was also great within the does not change much over the years.) The country’s borders. She was even lauded by painting is signed in the lower left comer, the members of the only elite culture that but not dated. (21) the Netherlands could boast at that time: The painting depicts roses, carnations, the court of Prince Frederik Hendrik and poppies, convulvuli and a sunflower in an the literary-humanistic “Muiderkring” ivory-colored vase with putti and a vine (Muyder Circle). On September 18, 1677 relief. The vase is standing on a brown- Constantijn Huygens, secretary to the veined marble table-top. To the left of the Prince and member of the Muiderkring, vase lies a lid with a Venus-figure as a composed the following poem to “Miss grip. Also on the left is a butterfly, and two Oosterwijck and her maid-servant, also an cockchafers can be seen, one in the fore­ artist:” ground and one in the upper right. Only the background is dark, whereas in the Our fair friend, the rare young Oos­ remainder red, orange, white and green Flower Still Life, 1686, signed and dated. terwijck, are predominant. Whose peer is yet to be found, In this painting there is also a religious- England, Hampton Court. Copyright reserved. Reproduced by generous permission of the Lord Performs each day wonders unbound. moralistic meaning. It may be said that Chamberlain, St. James' Palace, London, One wonder, ne'er easily gauged, the vine motif represents Christ as Re­ England. 'Tis that she, yet a maiden, bore a deemer; the Venus-figure and the roses maiden, to wit a maid, depict love and sacrifice; the butterfly is religious-moralistic symbolism which is And cast work-cloth, broom, and man freed from his terrestrial existence. present so often. heart aside. Flowers in themselves symbolize the tran­ The Oosterwijck maid was nurtured sitory nature of life. (22) so quick and so well These so-called realistic still-lifes are PART II That 'tis Oosterwijck’s brush alone seldom drawn after “real life,” but are Conditions her can quell, combinations of quite separate studies. Think ye, my witty friend [W. van Flowers of different seasons are grouped Maria van Oosterwijck’s dealings with Heemskerk] it a great mistake, together in one bouquet. (23) In no aspect foreign countries imply that in Holland she To call Geertje Pieters Geertruyd van whatsoever does Maria depart from the surpassed her fellow artists who were Oosterwijck? general rules in flower painting. Her Cal- compelled to work for the Dutch bourgeoi­ Oosterwijck’s teaching has guided her vinistic background certainly secured the sie alone. This was quite an accomplish­ fate, She is her own print; Or clearer to state, She is Oosterwijck's moon; so give her such shine, Think what light must be in the Sun HARRIET FIELDS to give off a glare so fine. (24) The contemporary poems from the bourgeoisie at large reflected Maria van PAINTINGS Oosterwijck’s fame. The Amsterdam poet Dirk Schelte made “a birthday garland SE P T E M B E R 10—30 Lotus Galley woven from the letters of Maria van 81 Spring Street Oosterwijck’s name, being a eulogy to the New York City 10012 same in recognition of her matchless (212) 226-6664, 226-9537 flower paintings, on the occasion of her Tues. —Sat. 2—5 pm birthday, August 27th, 1673.” After prais­ ing how colorful and realistic her roses look (“And I fear no sharp thorns”) Schelte goes on to speak of the art of this “paintress of renown:” Oh how rich poverty is for whosoever possesses this art; So artful is your work that with your brushes, You defy everything that presents ILISE GREENSTEIN itself as art... But, oh star, never yield! You are the represented by best, and most proper, It would shine very brightly, if it did GLORIA LURIA GALLERY not go against your humbleness... Oh matchless picture of a Maid, in Miami, Florida art, in speeches, in morals... (25) 1128 Kane Concourse, Bay Harbor Island (305) 865-3060 This in turn became the inspiration for in New York City painters. One painting, probably by G. de (212) ES2-0954 Lairesse, portrays Maria as an allegory of Art who inspires Prose and Poetry, person­ ified by Dirk Schelte. Another portrait of

18 Maria painted by W. Valliant in 1671 is undoubtedly of her. As a matter of fact, this portrait bears such a strong resem­ blance to the allegorical woman figure, that de Lairesse’s (?) portrait is considered to be Maria van Oosterwijck. (26) She must have lived primarily off the general art-market in 17th century Hol­ HELENE is represented Ioy land, in which the socio-economic power was in the hands of the propertied bour­ geoisie. There still was no great class dif­ max ference between the bourgeoisie and the merchant-regents until the end of the Hutchinson century. gallery 138 Greene Street, New York Tel 966-3066 Although there was a considerably large amount of capital in many sectors of the bourgeoisie, on the one hand they did not wish to invest because of their somber Protestant ethic, and on the other hand they could not invest in land because their society had already become too urbanized. As a result they invested in articles of use or decoration such as paintings, which could also serve to beautify their Vernita Nemec houses. Painting was the cheapest of the plastic arts. Besides providing a purely DRAWINGS, INSTALLATIONS AND PERFORMANCES decorative element, the purchase of paint­ ings was also motivated by prestige and national pride. Among the upper classes there was a veritable fury of collecting; and October 8 — November 2 thus there arose a very lively trade in art. (27) The relatively high degree of production by hundreds of artists in the SOHO 20 99 Spring Street, N.Y.C. 10012 (212) 226-4167; Tues.—Sat. 12—6 period 1610-1675, therefore, was largely a socio-economic phenomenon. During the 17th century a surplus of paintings developed, so that the price was no longer determined by purely profes­ sional aspects (the material and labor involved), but rather by fashion. This laid the basis for regarding the artist as a margie billstein katz flory chowe genius and not just a craftsman. Only the artist of genius could hold his or her head above water, while others would flounder recent works sculpture on the market and had to support them­ colored forms and movement selves in other ways. As a reaction the September 20 — October 9 artists became more and more specialized September 27 — October 16 in one particular genre. (28) Maria’s be­ came flower painting. As an artist, Maria van Oosterwijck was exceptional; she was a woman artist springing from a non-artistic environment. She came from a preacher’s family. How and where could Maria learn and practice her profession? How could she sell her work in a market that was often and marion lane elissa van rosen strictly organized by guilds and so male- dominated? In Jan Steen’s painting The Studio we transformations painted figure sculpture do see a girl practicing drawing from a aluminum wall pieces October 18 — november 6 plaster model. (29) This is a common exercise in the training of a painter, and October 11 — October 30 thus the girl was obviously being trained for this profession. And of course, there is evidence of private arrangements by art­ ists, like Maria herself teaching her maid­ servant Geertje Pieters. But officially the apprentice system as well as transactions concerning the pur­ PLEIADES GALLERY chase and sale of paintings had to be of­ 152 WOOSTER STREET (212) 475-9658 ficially conducted via the St. Lucas Artist’s NEW YORK CITY 10012 HOURS: TUES.-SUN. 11-6 Guild. In order to practice the profession of an artist openly one had to be accepted into the Guild as a master. Thus Maria published in 1862, as well as for her later Harris & Nochlin, p.146. 23.See note 22, Rosenberg, p.338. would also have had to become a member book Willem van Aelst, The Last Act of a 24.Quoted from Spoor, p.100. of the guild, even though women were not Stormy Life. 25.Quoted from Spoor, p.102. His source Is C. as a rule accepted in their own right. (30) In the hands of Bosboom-Toussaint, Huygens' Rijmwerken [poemsj, Amsterdam, 1714, pp.425, 426. An exception, however, was often made the romance between the two painters 26.B.J.A. Renckens, Een portret van de schitderes for widows. develops into a bitter struggle centering on Maria van Oosterwijck en de dichter Dirk Schelte, in Oud-Holland, jrg.LXXIV, 1959, pp.236-239. There is no evidence to show that Maria van Oosterwijk’s fight to retain her identi­ Illustration de Lairesse’s (?) painting, p.238. van Oosterwijck was a member of a St. ty. Bosboom-Toussaint’s own romance Vaillant's portrait is Illustrated in Oud-Holland, Lucas Guild, although this is further jrg.LXXIII, 1958, p.244. with another rakish genius is certainly 27.lleen Montijn, Schilderkunst en samenleving in de hindered by the fact that the archives of projected in the novel story. zeventiende eeuw, in Spiegel Historlael, jrg.10, #4, the Guilds in Delft and Amsterdam have For the author as for her readers at the April 1975, pp.220-229, especially pp.221-223. About social-economic structure. only been partially preserved. The only time, Maria van Oosterwijk is “truly an 28. Montijn, p.224. surviving membership list of the Amster­ emancipated woman” who, with vocation G.J. Hoogewerff, De geschiedenls van de St. Lucas- gilden In Nederland, Amsterdam, 1947, pp.92, 93. dam Guild dates from March 1688. This and energy, is able to master herself so as Main source about St. Lucas Guilds and their history list does in fact include the names of to devote her life to art, while yet retaining in the Netherlands. women, even of non-widows, but not that 29.Hoogewerff, p.85, illustration 6. her feminine inclination toward sacrifice. 30.Hoogewerff, p.91, 96, 101, 102. of Maria van Oosterwijck. (31) Thus in the novel, Maria pledges her I.H. van Eeghen, De Gllden, Theorle en Praktijk, The Amsterdam Guild was very flexible faith to Willem van Aelst with the words: Bussum, 1974, p.24, 31.Fr.D.O. Obreen, Archlef voor Nederlandsche in enforcing the prerequisites for member­ “I could hate you because you have Kunstgeschiedenis, tome I, Rotterdam, 1877, 1878. ship and was the model for other guilds succeeded in making me unlike my­ Pp.1-25 contains remaining name list of Amsterdam guild members. such as the one in Delft. (32) In the extant self." (38) Thanks to Bosboom-Toussaint, Hpogewerff, p.59. Delft book of masters (not from Maria’s Maria van Oosterwijck has rightly entered St. Lucas ordinances 1790 and St. Lucas charter era) women were also included and there is the annals of the struggle for the emanci­ 1566-1611 fol. 305-310 vs. From the Municipal Archives of Delft. no reason to assume they were widows. (33) pation of women. Interviews Archivists July 1975 In Delft (Mr. van The Haarlem Guild was much stricter Leeuwen) and in Amsterdam (Mrs. van Eeghen). 32.Hoogewerff, p.121. than the Amsterdam-modeled Guild of St. FOOTNOTES 33.Masterbooks Delft St. Lucas Guild, 1679-1715, Lucas. Yet the painter Judith Leyster and fol.18 vs, 19 vs, 20. Preserved in the main library of 1.Ann Sutherland Harris, Linda Nochlin, Women the Netherlands, the Koninklijke Bibllotheek, Den the flower painter Rachel Ruysch both Artists: 1550-1950, New York, 1976; at the same time Haag. were accepted into the Guild on their own catalogue for the exhibition of the same name at the 34.Eleanor Tufts, Our hidden heritage, New York, merit (34) though in Leyster’s case, as in Los Angeles County Museum Dec. 21, 1976-March 1973, pp.72, 100. 13,1977. This excellent thorough overview on women 35.See note 27. others, her marriage to another painter artists contains more information about women 36.See note 9. might have helped. still-life painters in Holland, p.35, and on Maria van 37.A.L.G. Bosboom-Toussaint, Marla van Oosterwijk Oosterwijck, pp.145-146. Rotterdam, 1862. However, in the middle of the 17th Peter Mitchell, European Flower Painters, London, 38.J.M.C. Bouvy, Idee en werkwljze van mevrouw century, the guilds gradually lost their 1973, p.25. Basic work about the subject of flower Bosboom-Toussaint, Rotterdam, 1935, p.118, 119, painting in general. 124. monopolistic position. The municipal gov­ Jakob Rosenberg, Seymour Slive, E.H. ter Kuile, ernment of Amsterdam felt less and less Dutch Art and Architecture 1600-1800, Harmonds- worth, (1966), 1972, pp.334-335. Contains a good sympathy with guild coercion and the sur­ cultural insight in the Dutch Republic. reptitious free trade in art thrived. In 2.Arnold Houbraken, De groote Schouburgh der practice the Amsterdam Guild was power­ Nederlantsche Konstschllders en schllderessen, Amsterdam, 1719. (Translated: The Great Showcase BETTY PARSONS continued from page 15 less to control the thriving art trade of Dutch male and female Painters), two volumes, II outside of the St. Lucas Guild, in spite of a pp.214-216. If not mentioned otherwise I use his an important factor in the art of the '40s information as a source. 1630 ordinance which stated that a senior 3.C. Hofstede de Groot, Quellenstudien zur holland- and '50s here. Pollock came from Wyo­ member of the guild must be present at ischen Kunstgeschichte: Arnold Houbraken und ming, Rothko in Oregon—all those enor­ every purchase of a painting. (35) seine “Groote Schouburgh" kritisch beleuchtet, Den Haag, 1893. Hofstede corrects Houbraken on van mous spaces. Still grew up in North Probably it was not essential for Maria Oosterwijck’s birthdate to August 20, p.425. How­ Dakota. They were all trying to convey the van Oosterwijck to have become a guild ever, this is in contrast with the birthday poem, see expanding world." You didn't say what note 25. member, as it would have greatly restrict­ 4.C. Spoor, Kroniekvan Nootdorp, jubileum edition, you meant by the ‘expanding world. ’ ed her. Perhaps, as a woman, it was even copy 77, Nootdorp, 1966, p.98. Spoor, the recent BP: Yes, I wrote that in my catalogue. Did vicar of Nootdorp, has done extensive research in easier to avoid coercion by the Guild. We church and municipal archives. you see this? “America is at the crossroads know that she used intermediaries, usually 5.This must have been later in her life, since she is of a spiritual center. The American artist Amsterdam merchants, (36) in the sale of reported to live with her maid alone. See note 9. 6.Houbraken, II, p.216. Spoor p.98 finds evidence of therefore is at the spiritual center of the her works, it seems unlikely that she these facts, though the location is slightly different. world. The problem of being an American requested the permission of the guild to do 7.See note 2. 8.U. Thieme, F. Becker, Allgemelnes Lexlkon der is unimportant. They could paint their so. In the previously mentioned trans­ bildenden Kunstler tome XXVI, Leipzig, 1969, p.25. paintings anywhere. It is important that actions no witness from the guild is ever A. von Wurzbach, Nisderiandlscher Kunstler-Lexlkon they have the background of the American Leipzig, 1910, p.256. mentioned. Dream.” * 9.A. Bredius, Archiefsprokkelingen [Archive Miscel- lania] in: Oud-Holland, jrg. Lll, 1935, pp.180-182. The HA: I could never be that patriotic. But basic notes for this article are kept at the Rijksbureau Nostalgia for the Dutch Golden Age voor Kunsthistorische Documentatie, Den Haag. I then, you wrote that in the '40s. Expan­ occured in the newly formed Kingdom of have used both sources for the notarial acts and sionism is no longer an acceptable political the Netherlands in the 19th century. Maria deeds mentioned in this article. 10.See note 9. concept. van Oosterwijck’s name in the meantime 11.See note 8. Updated list of works in Harris & BP: But the American Dream is a dream had slipped into obscurity. She again Nochlin, p.145. See note 1. of freedom. 12.Houbraken II, p.217. became a heroine during this time via the 13.See note 2. Houbraken’s information is accepted. HA: I guess you still have that patriotism. novel bearing her name as title, written by 14. Ralph Warner, Dutch and Flemish fruit and You came here, your grandfather was in flowerpalnters of the XVII and XVIII th centuries, one of the few important Dutch women London, 1928. pp.162-163. New York, living on what is now Rocke­ novelists of the period, Anna Geertruida 15.See note 9. feller Plaza. Bosboom-Toussaint. 16.Houbraken I, pp. 228, 229. 17.Rosenberg, p.338. BP: Yes that’s right. You see the Ameri­ Bosboom-Toussaint uses Houbraken’s 18.Mitchell, p.190. Not able to verify. can Dream did not exist in Europe, and data as a starting point for the novella 19.Rosenberg, p.338. remember, I had been in Europe 11 years. 20.Harris & Nochlin, see note 1, catalogue #28, Maria van Oosterwijk,* (37) which was p.146, colorplate p.76. The Italians, the English, the Middle 21 .Catalogue of the Koninklijk (Royal Painting East, they were all dominated by politics. Collection) Kablnet van Schilderijen, Maurltshuis, *Note: In the novel Maria's name is spelled Den Haag, 1935, #468. By the male. There was no freedom, and differently. 22.Mitchell, p.13,23. whatever the morals were, the laws were

20 suppose Portraits Inc., mentioned in the acknowledgments, would be the best way to go about it. Painting Women's Portraits taken as a typology, makes sense. The individual identity of sitters is purposefully blurred, but the social function of the paintings are clear. The sitters have a certain exchange­ ability. For instance, mothers and daugh­ ters are not keenly separated: are we Joe Singer. Painting Women’s Portraits. occupy a secondary role in art history. looking at a youthful mother or at a 29 color, 100 b/w illus. 152 pp. Watson- Singer is concerned not only with formal daughter ready to take her mother’s role in Guptill. $16.95 professional portraiture (this is predomi- society? The general wardrobe of shirt dresses, woolen coats, and mid-town New York hair styles, slurs generational varia­ For once I am writing about a book in tion. This is not a mistake on the part of which all the artists are unknown to me. It these painters, but their purpose: it feels like that James Cagney film Come Fill implies the existence of a league of good The Cup which opens with him sitting women, persistent from generation to down at his desk in the city room of a generation, the external sign of which is newspaper and typing, close-up: “all the durable, long-term style. The effect is like dead were strangers.” I recognize some of Hollywood movies of the ’40s and ’50s in the artists that Joe Singer cites as compari­ which fashions, Lana Turner’s, say, were sons—Leonardo, Rembrandt, Vermeer, generalized so that movies could be Velasquez and Van Gogh, but all the re-issued without dating too fast. Similarly others, though called “prominent” in the the dating of the portraits is rather introduction, are strangers. In addition, indeterminate. Out of 129 reproductions, I most of the portraits are of strangers, counted one from the ’30s, two from the except for an artist’s wife and daughter or ’50s, four from the ’60s, and 14 from the two. ’70s (eight of them, done for the book, The first contact of this kind of artist from last year). This leaves 108 undated and sitter begins with the commission to pictures which shows Singer’s detachment paint the picture. Not for these artists the from the usual procedures of art history. portraits that signal love, affection, famili­ The social homogeneity of the sitters is arity, respect, admiration, or liking, or Claude O scar M onet, La Capeline Rouge— marked and it is true that many husbands any of the cadences of proximity. No, this Madame Monet, ca. 1870. Oil on canvas, want to be married to a woman who is like book is about how to paint strangers .for 39Vix31Vi". The Cleveland Museum of Art, other women of the same class, age, money. You should “put all clocks out of Leonard C. Hanna Jr. Collection. "Since the education, and race. If a husband or mid-19th century innovative and perceptive sight” and in conversation “avoid politics, father is paying for such a portrait he portraiture has rested on the personal relation­ would want the statistical resemblances to religion, gossip, and ethnic jokes.” Even ship of artist and sitter. " gossip? And three-quarter views of the be present no less than traces of specific head are virtually obligatory as full face nantly male and belongs in colleges and identity. These are women who can raise depiction flattens. You should avoid the board rooms) but with informal profes­ children, run the house, give a party; they notation of idiosyncratic individuality and sional portraits. These are images of wife can earn executive approval (good for stress the socially continuous aspect of the and mother (often the same person) and husband’s career) while maintaining the unknown sitter before you. adolescent daughter, designed to hang in infra-structure of domesticity. The roles Since the mid-19th century innovative the homes occupied by the sitters. Singer that these images of women imply are and perceptive portraiture has rested on discusses ways to handle strangers, but not company wife, hostess, and as mentioned the personal relationship of artist and with much candor. He projects a sensible, above, mother-daughter. As a sociological sitter. This is as true of the Pre-Raphaelite hard-nosed attitude, but gives no infor­ document concerning the self-images of Brotherhood as it is of the Impressionists: mation on how to find a painter if you one group of women in society the book is Millais painted Ruskin, Monet painted want your portrait done and does not a gold-mine. Mme. Monet. Commissioned portraits, or mention how much the transaction is likely the depiction of strangers, have come to to cost or in what form payment is made. I

still 200, or 500 years old. would have the United States as an inter­ arts. I think everyone should be conscious HA: But is the Dream real? national country. I wouldn’t have it just of politics, because I want to know where BP: The American Dream was the dream the United States. New York is to me the in the hell my tax money is going. And if I of freedom to do as you please, to do as international capital of the world, I don’t don’t approve of it, I’m going to fight it. It you risk. Each person must be free. care what you call it. You walk down goes to corruption. HA: But you were in a Victorian, imperial Broadway, and you hear every language HA: Getting back to politics and art. world. So you were not free. spoken. And in New York, there should be W e’re creatures o f the world right now, HA: Well, I tried to be free. In Europe a University which would teach people and we communicate feelings about the they weren’t even struggling to be. They about the problems of the world. world through the work. It is unavoidable. aren’t even struggling now to me. HA: Artists are increasingly recognizing BP: We know so little. The purpose of life The Italian woman is still actually dom­ themselves as political beings, in a larger is, as dear old Shakespeare said, “I come inated by the male. The^English are a little world. They don't want to ju st be locked hence and go forth—ripeness is all.” more independent, but not much. Go over up in their studios in the middle of New there and you’ll see it, right today. York City. ©Helene Aylon 1977 I think if I were running this world, I BP: I think politics is dangerous to the

21 teviews reference to relics and their containers. The wedding portraits of her grandparents Pat Laseh and parents use fine gold threads and strands of hair caught behind horizontal (A.I.R. Gallery, April 2-27) Looking at bands of paint, a symbolic reference to Diane Karol Pat Lasch’s work, I am reminded of time. delicate handkerchiefs whose lace is gently All the works have elements of fantasy. (55 Mercer Gallery, April 23-May 11) rubbed between the fingers, of family We develop whatever story we wish to Diane Karol’s mural-size assembled paint­ occasions and their accompanying deco­ when looking at these works. Lasch tells a ings perform magic with the gallery space, rated cakes. Memories and associations story about life, death and the connection transforming its most notorious character­ are stirred. It is moving to be allowed to among people in a personal, sensitive istic—that distancing, white austerity— study Lasch’s presentation of four genera­ style. into something beautiful and friendly. tions of her family. —Lorraine Gilligan Karol’s achievement is the result of a Her earlier works involved hand-sewn long, painterly process. Her paintings are interpretations of the cycles of genera­ constructed from canvas that has been tions, and was more influenced by her stain-painted in the lush, tropical colors of maternal grandmother’s and mother’s her Floridian childhood. The fabric is then involvement in thread. The new works are Judy Seigel cut and stitched into rectangular shapes. small, still deal with time and family Karol stacks the shapes in vertical seg­ connections but the technique is derived (Ward-Nasse Gallery, A pril 23-May 12) ments, arranging them in overlapping from Lasch’s father’s occupation, that of a M aterial, act, imagination—all these go flaps. Finally, the segments are placed side cake decorator or konditor. Each canvas into a process, and the fruits of an by side and the entire project is hung, flat, has one or two small black and white obsession with process are Judy Seigel’s against the wall. photos of a family member. Pastry tubes recent paintings. Seigel has thoroughly Rather than assuming neutrality, the filled with paint create floral and vegetal familiarized herself with the properties of wall becomes part of the painting, thus motifs, or effects of macrame and fringe. various liquid states of acrylic paint, and taming the color, and allowing the work to In each series one or more motif surrounds the behavior of watery plastic pigments breathe. Causeway heightens the effect by the tiny photo and is retained in each when washed over the mounds and valleys leaving space for the wall to peek through. version. The Fred Lasch series utilizes of sculpted gesso form the material basis This utilization of wall also eliminates abundant quantities of colorful roses of her paintings. distinctions between fore- and back­ around the photo, and with the passage of More fascinating even than the process ground. Karol has succeeded in not only time the composition loosens up until the is the inspiration. Seigel has explored incorporating the actual hanging space flowers seem to shoot off the canvas. some of our most sophisticated image- into her painting, but in maintaining a Lasch’s series dedicated to her mother, making tools, computers. Introduced by semblance of flatness as well. Helen, has a different sensibility altogeth­ computer animation, and initiated by Closer inspection of the component er. White strands of paint are woven and computer graphics, she discovered in color flaps reveals their intricacies. Each rectan­ knotted together and look like crochet or production via cathode ray tube the pin­ gle is stitched on four sides, then stitched macrame. In one version a single blood red nacle of computer art. TTiis led to the onto a canvas backing. Colors bleed subtly rose is placed under a photo of the artist’s appearance of video motifs in her paint­ one into another in polychromatic washes. mother as a young woman. The series is ings; in fact, the “Channel Six” series is Karol’s care in executing her work is ob­ indicative of her mother’s crocheting as inspired by that electronic image-making vious. She is a foe of what she terms “fast well as her more reserved personality. The tool known in every household as the food art.” Her paintings are visually ap­ configuration of an arch with curtain-like television set. pealing and carefully thought through; fringe is the main motif in Lasch’s self-in­ The “Channel Six” series became the they are a burst of flavor in the typically terpretation. The arch and tondo forms of ground for Seigel’s perfection of tech­ dry gallery air. It was a pleasure to be in older work are carried through and the nique. All the motion and visual excite­ their presence. fringe is parted to view the artist. ment of an out-of-kilter television screen —Janet Heit Another aspect of the works is its is reproduced almost literally in the earlier

Pat Lasch, Wedding Portrait, Wil- Diane Karol, Causeway, 1977. Acrylic wash on canvas, 8x27’. Photo: Bevan Davies. helmina and Fredrich Lasch c.1900, 1977. Oil paint and photos on 22 muslin. paintings, using a runaway squeeze bottle Unlike the surrealists, it is not the irony and neon colors. As the series progresses a implied in the bringing together of these large repertoire of simple mechanical grids remote realities, it is rather the reality of Helene Valentin and objects are used to make textures and Byars’ imagination. She works off the (M ax Hutchinson Gallery, March 22— shapes, and the squeeze bottle is tamed. fusion of her dream and unique sensibility A pril 23) Using raw acrylic pigment with The neon color becomes more transparent, as an artist. She is deeply romantic in her glue and water, Valentin creates paintings emitting the light energy of ionized atoms. repudiation and clarity of esthetic choice. organic in feel. She builds up color via very Seigel develops an interest in borders as Her use of certain objects which by their very thin layers, achieving opacity and she gains control of both composition and nature are symbols, are derived from transparency almost simultaneously. One material, so that the image is comfortably memory, nostalgia and dreams. The iron­ thinks of water and vapor when looking at anchored by a crisp bead of gesso drawn ing board, an object she uses over and over these, sometimes smoke and fire. Her through the smoky edges of the canvas. In again is for instance a reminder of her “backgrounds” are more indistinct, utiliz­ the “Jumping Doily” series, an outgrowth mother and the love she poured into the ing blurred edges, while the “foreground” of “Channel Six,” the compositions within pressing of the family’s clothes; the smell, activity is in more intense color, in the borders are almost classical, with all the starch, and process is implanted in her markings and small areas that fit very the elements tightly reined in. mind as an act of her mother’s caring naturally and easily into the spaces and Though I have repeatedly emphasized hands. Animal horns, another symbol fre­ rhythms of the backgrounds (which could control in this review, that is not the major quently employed by the artist, is com­ be striated, mottled, or just smoothly impression of the show. Rather, the rap­ bined with the ironing board in Harbinger. mixed). Those paintings utilizing earthy turous color, the obvious delight in the Her interpretation of the horns rejects any palettes look like natural skins, or rock. unerring laws of liquids, and the play of primitivist allusion and insists that her Shown with the paintings was a four- textures and lines infect the viewer with attraction to them was more their shape, minute film, “Smoke Project Painting Seigel’s own irrepressible enthusiasm. symmetry, texture and in this case, their Film,” which she made at Artpark in 1976. color, a pale yellow which worked with the — Carla Sanders Using smoke flares from different sources old cover of the board. implanted in cracks and on ledges of a cliff It is natural that the dream stimulates in Lewiston, New York, she produced much of Byars’ creative powers and partic­ smoke in wondrous colors—turquoise, ularly for the Oracle Stone's Grove. All apricot, brick red, filmy blue, pink—that Donna Byars the components for this work sit on the gushed and/or lazily hazed. The rhythm of floor and do not occupy any wall space; (A.I.R., April 30-May 25) Byars works the film was that of the smoke, and of the two stones perpendicular to each other with found objects of different sensibilities eerie voice that was the soundtrack, which sitting like the lap and torso of some that are joined to portray a personal sounded like an odd reed instrument. ancient temple ruin on an old paint esthetic. Objects such as metal wings, scratched rocker in a grove of four weeping —Ellen Lubell animal horns, shells, ironing boards, fig trees. For Donna, the grove becomes curved sticks and old wooden boxes; the shrine of the oracle of her dream. stitched, nailed, stuffed, enclosed, leaned The sense of mystery and spirituality and half-hidden sometimes by a drape of that pervades her work is further evi­ cloth or bandage are assembled in a denced in her other works. The feeling Anita Steckel sculpture format working off the wall and evoked, especially in the wrapped works, is floor. The integrity of a particular compo­ (Hansen Galleries, April 5-May 1) For a that of a sense of trespass on a private nent is never violated. number of years Anita Steckel has related world. The images must be seen as they An old ironing board presented vertical­ to women through her own experiences are. There is no supremacy of the invisible ly on the wall supporting animal tusks and fantasies. Both the Giant Women and over the visible. The fact that they both reminds me of the phrase by the poet New York Skyline series, done in the early exist simultaneously in Byars’ work is a Lautremont, “as beautiful as...the fortui­ ’70s, use photomontages of actual places tribute to this sensibility and a test of our tous encounter upon an operating table of combined with the artist’s rendering of own. a sewing machine and an umbrella.” herself and others in imaginative situa­ — Carolee Thea

Donna Byars, Oracle Stone’s Grove, 1977. Mixed media, 6x5x5'. Photo: Helene Valentin, Winds and Hill, 1976-77. Acrylic pigment, glue, water, Maude Boltz. 84x127". Photo: Eric Pollitzer.

23 tions. The resulting images are powerful, Holiday and Picasso (to name a few), Barbara Press’ prints emphasize deep painful and defiant, relating to the viewer individuals whose lives have deeply affect­ space and the contrast between soft organ­ on many levels. These series of large ed Steckel. A large collage utilizes many of ic forms and hard bone-like structures. canvases, executed in blacks, whites and these personages plus pictures of back Her three-dimensional works are abstract grays was Steckel’s means of directly alleys, subways, the city. The piece begins reliefs made by combining molded hand­ presenting her message (such as Picasso to take on connotations of a forest. It is an made paper and small bags (made from presented Guernica and Rivera his m u­ appropriate feeling, for Steckel’s works is nylon stockings) which are filled with lentil rals) devoid of what she termed ‘seductive’ lush and optimistic. In paying homage to beans. She also includes copper and brass elements. Picasso, she visits his garden not only as a plumbing parts, hair like rope fibers, steel Among Steckel’s new work is a large pilgrimage but as an invitation to women wool, springs and nails. By placing the collage and series of xerox pieces and to rove in what has been the male garden. nails in long rows, they serve a supportive function and correspond to the vertebral mixed media which continue to draw upon —Lorraine Gilligan her fantasies and their materialization, the columns found in some of Press’ prints. new work focuses on a spiritual journey The effect is an erotic contrast between represented in the form of Steckel’s like­ overt and hidden form as well as a contrast ness mounted on a bird. Steckel/Bird flies Lois Polanskv / between organic and machine-made ele­ ments. One work, inspired by the way from the confines of New York to visit Barbara Press women in a medieval garden, invades the truckloads are held in place with tarpau­ lins and cleats, uses handmade paper and Sistine Chapel, Da Vinci’s Last Supper, (The Graphic Eye, June 15-July 3) The ropes to secure the bean sacks. In this and Picasso’s garden. Magically, Steckel’s works of both Lois Polansky and Barbara work, the organic forms are mainly hid­ spiritual release allows her to transcend Press developed out of their previous den, but can be perceived straining against boundaries of time and events. Woman, in printmaking experience. Although they the paper while being resisted by the the presence of Steckel, is introduced work very differently, both artists are strings. The stockings, cooking beans, and into male dominated events (such as The interested in exploring feminine identity. obvious hand-sewing imply traditional Creation) and assumes an active role. The Inspired by old family photographs, feminine roles, but there is a tension concept of a journey is further reinforced Polansky combines intaglio printing with between those materials and the testicle­ through the xerox technique. Each series drawing to produce a series of nostalgic like forms they create. Press’ work conveys utilizes the same background (e.g. Sistine prints. Viewing her show is reminiscent of not merely an interplay, but more of a Chapel) while in each version the image of leafing through the pages of a family Steckel/Bird is shifted while being copied. album because she repeatedly uses images struggle for balance between textures, planes, organic and artificial materials, The distortion creates a sense of movement of her grandparents, parents, husband and, perhaps most importantly, between and energy. Each version in a series is a and children. The significant and varied male and female symbols. one-shot image and yet a series could placement of the family members gives us —Barbara Colter continue indefinitely. The further it insight into each of their roles and the is expanded the more unrestrained Steck- relationships between them. The works el’s journey. Another series, Erotica, give a photographic impression because of combines sterile photo copies of couples in the studied poses and use of cropping various love-making positions with drawn technique; however, the artist chose to Tamar Laks fantasy images triggered off by these etch the likeness rather than utilize the pictures. Reality and fantasy are combined actual photograph. The artist’s foremost (The Sixth Estate, May 31-June 19) Laks in these, the show’s most beautiful pieces. interest in printing is demonstrated by the paints figurative abstractions, using arbi­ A new addition to this show is Steckel’s presence of written references to the stages trary, sharply delineated chromatic divi­ use of color. Many of the xerox series are in the printing process which are inscribed sions to suggest a form broken by colored hand colored, Picasso in his studio being a all over the meticulously graphed ground. light. In her most successful works, the striking example. Color relationships and In addition, smaller, more intimate reflec­ figure becomes an object of identification rhythms are lovingly presented in the tions on art and life are penciled in other for the viewer; its position works in con­ figures of Lenny Bruce, Genet, Billie areas of the works. junction with close tonal variations to

Anita Steckel, Creation Revisited, 1977. Collage-xerox wall, 10x10'. Lois Polansky, Template Series: Double Intagl­ io #1. Intaglio and drawing, 30x22". 24 create an encompassing mood. The paint­ together in fives, painted in pastel shades ings are emotional, yet highly controlled. like ruched ribbons, their cords tangled While earlier works are obvious rendi­ behind them, lie as if thrown down by a Invitational tions of the body with sharply contrasted wave. (A .I.R . Gallery, M ay 28-June28) A .I.R.'s divisions reminiscent of jigsaw puzzles, her Ancient people used bones and teeth as June Invitational included a sampling of later pieces are more like zoom-lens ab­ jewels, tools and ritual objects. Similarly works by 10 artists of varied styles and stractions in which the body is seen too Spikol has converted cast vertebrae and media. All of the participants live outside closely to define its form, and close tonal other bones into joyous forms of subtle of New York City; the object, to give them variations dominate. It is in the middle color, scattered on the ground, or placed an opportunity for exposure in SoHo. Pho­ range of these extremes, with such paint­ on the wall as in Hard Constellation. This tography was the dominant medium, used ings as Contemplation and Torso /that the is a piece with 11 units arranged in two either for itself or as records of the work artist makes the most use of the emotional rows of four and one of three, one lower itself. In Ana M endieta’s (Iowa City) color impact of the human form and the mood- corner of the rectangular display empty. prints, women’s figures interact and manipulation of color. This sends the eye back to observe the become one with their surroundings— Contemplation is an extroverted, threat­ pattern of the group only to find the rocks, trees, a log in the sand. Miriam ening painting, akin in mood to a tiger uniqueness of each object as an entity; Sharon (Tel Aviv) offered a large series of poised for attack. The female figure is here although the effect of each unit is of trans­ photos titled Sand Tent Project (April, seated with her arms wrapped around her lucent gold tipped with red, each “star” is May, 1976), documenting the activities knees, pulling them close to her body; her a slightly different hue or tone. The most and experiences surrounding the setting head is sunk behind them and one eye subtle pinks are present where blue has up of a tent in the Negev desert. She does gazes out from the canvas. The position is been added, looking almost like shadow, earthworks in this locale, exemplified here tense, the gaze, intense, and the warm there is an effect of violet. These unearthly by a boxful of paraphernalia accompany­ reddish light in which we see her sets this stars are more marine than celestial. ing the 45-picture layout. Joyce Cohen intensity on fire. In World Without End her units are (Washington, D.C.) contributed haunting Torso I forms an emotional contrast. “leaners,” dappled poles eight feet high. and well composed photographic self-por­ The figure is seen obliquely from the rear Open at the base, they overlap at the top, traits in which she explores the many sides as she crouches over, legs crossed, palms with cast bones, painted in muted colors, of self with images of spectral and vam- turned inwards and tucked beneath her suspended from the apex on cords. In Soft pire-like somberness. The Beech Tree knees; the head is lowered and unseen. Curves the artist has created a thing of Piece (1976) by Rosemary Wright (Wash­ The figure is closed, introspective, depres­ beauty from folded coffee filters, pinned to ington, D.C.) is a book of prints commem­ sed and enervated. Her earth-toned form the wall in two rising and falling arcs, like orating the wrapping of the artist with a casts a deep blue-green shadow on her a flight of butterflies. The lower arc is beech tree accompanied by commentaries blue environment and the mood of with­ somber, like moths, the upper more color­ on how the process worked and the emo­ drawal is equal in intensity to Contem­ ful, like Japanese fans with dreams of half­ tions experienced during the process. plation's threat. remembered landscapes. Charlotte Brown’s (Woodbury, New York) —Nancy Ungar Visiting the Natural History Museum technically proficient xerographic prints where Spikol works one can see why it is were arranged in rows of five across and her inspiration. Unfolding in room after seven down to form a large wall piece room is the immensity of the past and collage of squares. The surface and textur­ present, of man and beast, of rock and al variety and the range of beige tonalities Eileen Spikol plant. The realization of this immensity form an interesting pattern obviously (SOHO 20 Gallery, April 30-May 25) seems to me to be encapsulated in Eileen based on the works of artists such as Eileen Spikol’s exhibition at SOHO 20 Spikol’s work, the vital meeting of past Michelle Stuart. Linda Rubinstein (Put­ made me think of her as a sea-goddess and present, the serenity of acceptance. ney, Vermont) had two cases of miniature changing nature’s debris into “something ceramics, strange and macabre images of — Sylvia Sleigh rich and strange.” In Sea Strangled bones dismembered body parts and mummified found on the shore, cast in resin, strung grotesque figurines. The only painting in

Tamar Laks, Torso I. Acrylic on canvas. Eileen Spikol. World Without End, 1977. Fiberglass, resin, wood, each 8'h.

25 the show was a large abstraction with large color. Weber is careful to point out that clear. empty areas of pale grays and blue-greens not all trash combinations make interest­ Her most ambitious work, City Environ­ by Enid Sanford (Washington, D.C.). An ing paintings on many levels but pushes ment #7, was a multiple-unit dwelling active and starkly jolting wall piece with all herself to explore new relationships within made of free-form pottery. One viewed the sorts of collage items from peacock feath­ the work. One painting, 127th Street, scene through the missing wall. The ers to wires and loaded with images Harlem, has a large mirror devoid of figures themselves are not more than a few alluding to the frightful atrocities of Na­ reflections in the center of the composition inches high, and the surrounding rooms zism came from Gerda Meyer Bernstein while gaudy contact paper, liquor bottles make up the rest of the 40-inch height. (Germany). On the whole, the exhibition and other objects capturing reflections vie The vignettes seen in the rooms are almost was a rather unmemorable conglomerate for our attention. theatrical. of works offering no surprises but follow­ Weber’s work contains political, eco­ Grabel also showed her version of ing closely on ideas already explored by nomic, and social connotations, they are “drawings.” These were in fact rolled better known artists, usually with more unavoidable, and yet they are not the tablets of clay with figures painted on in noteworthy results. artist’s foremost concern. She is like the glaze. —Barbara Cavaliere collage maker who shuffles down a street Susan Grabel’s sculpture included hu­ looking for scraps of things except she mor—a rare and special quality in the looks for large collections of objects in a visual arts. The other pleasing aspect setting and transforms them into magical about her sculptures is their multiplicity— walking tours of warmth and humor. of types of people, of actions, of gestures, Idelle Weber —Lorraine Gilligan of rooms. Hers is a complex and warm art coming from a very original point of view. (Hundred Acres Gallery, A pril 30-May 21) Idelle Weber is our guide through the —Marjorie Kramer trash of the city, the discards of a consumer society and its inefficient means Susan Grabel of disposal and recycling. In the past, Weber focused her energies on painfully (Prince Street Gallery, April 1-21) Susan accurate depictions of fruit stands but Grabel is a figurative sculptor who works Four Artists from tired of the monotony found even in vari­ in partially glazed clay. Her work consists California ations on this theme. She is much more of figures in many-roomed city environ­ intrigued with photographing trash piles, ments; her interest is in city family life. (Sculpture Now, June 4-30) The four and transforming the results into oil The work is domestic and intimate in a artists were women—Nora Chavooshian, paintings. Weber discovers random assoc­ humorous and compassionate way. It is Julianne Frizzell, Robbin Henderson, An­ iation in package graphics, the texture of inclusive of people of all ages, from a na Valentina Murch—who were united in the debris and the site, the effects of light nursing baby and mother in a natural that stylistically they were each quite and color relationships. gesture lying on a bed to an elderly person. unconventional. Henderson’s Kimono The show consisted of a dozen paint­ The work seemed more arresting in a comprised two pieces of roughly painted ings, the majority of them oils on large human interest way than for its forms, cloth that approximated the shape of the canvases and a few smaller watercolors. although the making of colored figurative garment, and was tacked directly to the The paintings are done slowly and careful­ sculpture, especially of environmental wall, challenging its usual qualities of ly with an eye for exactness. It is surprising genre pieces is very unconventional in delicacy. Her other piece was an untitled to find out that the pieces are not still lifes sculptural terms. It shows a brave and work of acrylic and polypropylene. Black but found arrangements Weber calls city rigorous stance. She questions assump­ right angle triangles were moored to the scapes. Weber’s impeccable technique tions of what is craft or pottery and what is wall at their top point and to the floor at captures the effect of morning light on fine art in her own personal way. In the point at the other end of the hypote­ glass, paper, cellophane, metal and distills addition, these works are close to genre nuse via a cord running through the edge. pure color relations that dissolve the painting in their small scale, emphasis on These were repeated the length of a long canvases into abstract grids of brilliant family life and in the way the actions are so side of the gallery, gaining substance

Idelle Weber, Nugget, 1976. Oil on canvas, 47x72". Photo: Bruce C. Susan Grabel, City Environment #1. Clay, 13Vix35x40’ Jones. 26 through the repetition. windows. The earliest works in the show Stein’s newer works are full-figure drama­ Murch showed a number of floor pieces, (1976) document a recent transition from tic pieces in which she has modeled not the best of which was composed of nine more hard edged forms to the concentric only the face but an additional part of the plexiglass boxes, each row of three de­ rectangles of the newest pictures, which body, such as the hand, and incorporated scending in size, and each box containing draw the eye deeper and deeper into each the form with a sweep of draped clothing. light reflectant materials. The first row of composition. The latter works she would like to see used boxes contained clear marbles in granular Fishman’s imagery is just ambiguous in theatrical and dance productions. material in white, brown, and a silver (abstract) enough that we aren’t forced to One of Stein’s most effective works is a reminiscent of mica chips. The second and see any particular scene. But it is clearly three-faced mask in which one face looks third rows contained prisms, crystal her intent that we investigate and enter the to the left, one straight ahead, and one to spheres, quartz crystals. The various light center of each work. The oil and wax the right, the divided personage, neither effects were quietly beautiful. surface is thickly applied, then scarred Picassoid nor schizoid in feeling, is, to my Chavooshian’s large suspended plastic with repeated, rhythmic gestures. These mind, a revealing statement of why masks cylinder contained mixed media sculpture strokes further coax the eye inward to are made and worn to begin with: wearing that looked like several fetuses in amniotic invent and dream on the central forms that such a mask, an individual need not sacs, strung along a few umbilical cords. are just out of focus or out of sight. The expose her true self. Yet, a mask usually The artist’s colors, use of translucence and muted colors, mostly combinations of indicates a commitment to a facade. This shapes directed a viewer to that image. pink, gray and beige, are painted as mask doubly frustrates the viewer; it not Frizzell’s wood sculptures were balance borders within borders, and further sug­ only masks the person behind it but, by pieces, in which position is held through gest depth. refusing a commitment to any one direc­ exact placement and weight distribution, Fishman is a master of painterly innu­ tion or point of view, it masks itself as well. rather than nails, braces, etc. In Balance endo. Her works turn inside out before The three-faced mask is not one of Series 3 (1977), a free-standing work, your eyes. This inward movement, and the Stein’s most recent pieces but it perhaps seven blocks of wood were held by one, literal reference to a window/door frame reveals the impetus and irony behind her long opposing one. In Balance Series 1 allow for daydreaming into each work. present drive to eerie drama and to down- (1977), similar blocks of wood ascend a This is a refreshing idea in abstraction— home, tongue-in-cheek naturalism. On the wall, held by a block leaning against wall one that brings aspects of fiction and the other hand, her move toward extroversion and floor. One viewed this work in breath­ narrative to that genre. might indicate a decision to choose among less and motionless contemplation. —Jill Dunbar her three opposing faces. —Ellen Lubell —Nancy Ungar

Susan Stein Jan Van Haav Louise Fishman (Henry Hicks Gallery, June 17-July 6) Stein models face masks out of papier (Hansen Galleries, May 10-June 5) Van (Nancy Hoffman Gallery, May 7—June 2) mache mixed with a variety of materials Raay, a photographer, here presented a Until 1974, Louise Fishman was painting such as Burpee’s Plant Formula. The series of color xerox works entitled “Xero­ her thickly impastoed abstractions on surfaces she achieves are crusty and ir­ graphic Fishworks.” Basically, the works wood. Now her oil and wax images are regular, adding an aged and somewhat re­ show the artist’s face and/or hands in done on stiff handmade paper that adds a pulsive look to the already mysterious combination with various sea creatures, sculptural dimension to the solid presence entities. Some of the works are eyeless and primarily octopus, with squid, snails and of the earlier work. Abstract/geometric art meant to be worn; the artist provides mir­ small fish. She works with her materials rarely invites the viewer into a pictorial rors, a hat and a wig for this purpose. right on the glass plate of the Xerox 6500 experience, but Fishman challenges that Others, complete with eyes but without color copier, manipulating color and ar­ attitude with these seductive new works bodies, form the bulk of the gallery’s rangement for each work. For example, a that evoke endless corridors and open population of strong personalities. Among series might consist of one xerox of the

Louise Fishman, Little Light of Mine, 1976. Oil Susan Stein, Old Man with White Beard. Jan Van Raay, Xerographic F-shwork, 1977. on paper, 31x22Vi". Photo: Bevan Davies. Painted papier mache. Color xerox. 10x8".

27 composition in full color, approximating come to represent the individual in a state contains both these opposites, contains reality, while the remainder of the xeroxes of wholeness and self-assurance. The them and does not contain them. It is a in that series are of the same composition paintings have a strong meditative quality, great virtue of this series that many op­ in one or two colors each (blue, magenta, and spiritual connections can also be posite discoveries are capacitated by an green, orange). Some are combination made. The circles with their touches of arrangement of simple elements modestly works, and many ‘single’ pieces have been gold leaf are reminiscent of Byzantine situated without frame, on borrowed cut around the edges, emphasizing the dome mosaics, or of stained glass. The planes. The effects are subtle, and the compositions. star-like pattern has the mystery of an all- hand-written signs telling us what to look A series that combines hands, an open seeing eye. for do not distract with over-definition. (screaming?) mouth—often with a snail The paintings radiate a great sense of Allen says her work is concerned with inside—and an octopus conveys a sense of peace. These are mature works whose paradox, but these are not startling para­ terror, of invasion as in a myriad of science beauty and sensibility are received with doxes of manipulated illusion which re­ fiction movies. Van Raay uses her medium welcome. It is hoped that Miles continues quire the viewer to yield. Rather they are well, appearing to understand the machine to receive the attention due her. inherent paradoxes of opposition and uni­ more fully than many other artists who —Lorraine Gilligan ty which yield to contemplation. They also employ it. yield to focused attention to centers and to —Ellen Lubell more diffuse attention to boundaries, where the falseness of “centers” is clear­ est. The series is a whole much more than th'e sum of its parts. Its economy of means Roberta Allen and richness of effect are most impressive. Jeanne Miles (John Weber Gallery, June 1-18) Allen’s —Patricia Eakins (Betty Parsons Gallery, A pril 1-16) Jeanne series “One as Two and More” deals in Miles is an artist who brings a wealth of several ranges of understanding. A simple influences and experiences to bear upon sign, the X, defines focal points: actual her small geometrical paintings done on centers and false centers, simultaneous plexiglass and worked in gold and plati­ centers of large surfaces divided into parts Jane Schneider num leafs and oil. Drawing from Miles’ (wall or floor) and small undivided sur­ long interest in actually using jewels in faces (plexiglass). The principle of order­ (14 Sculptors Gallery, A pril 23-May 11) early works, the use of precious metals in ing is theme and variation and the varia­ From its earliest thought, the human mind the development of a painting gives it tion is closely, even scientifically, control­ has been mystified by form and has used warmth and makes already beautiful led. The sign X is conventional but in this every method and every possible material colors shimmer. The metallic leafs lend a context emerges clean, stripped of its to explore its visual and symbolic reaches. feeling of great depth to the paintings meanings, so the viewer can easily focus on Jane Schneider’s “Sticks and Strumpets” despite the use of heavy black lines to work that deals precisely with focus. The at 14 Sculptors celebrates this urge of outline geometric shapes. effect of the series is thus intense. The mind and hand. The artist has composed a Miles works with tondo shapes or rect­ poet Charles Olson has said, “There must large group of works combining natural angles and squares that contain circles. be a way which bears in instead of away, materials, such as wood, feathers, shells Within the circles are grids, other circles, which meets head on what goes on each and sisal, with man-made materials such or star-like configurations. This dichoto­ split second, a way which does not—in as steel wool and nylon pantyhose. In most my of a straightforward pattern combined order to define—prevent, deter, distract, cases the compositions are meticulously with a mystical color sense is the strength and so cease the act of, discovering.” Allen crafted around a stick chanced upon in the of these paintings. Many of the grids are has rigorously delimited what is going on, woods, or stretched over a bent steel rod, symmetrically balanced, emanating a and within these limits has stripped away with the fibrous and feathery textures sense of harmony coloristically and com- deterrents to discovery. Yet part of the dis­ arranged to emphasize the elongated positionally. Psychologically and symbol­ covery of focus is the discovery of its op­ shapes. Though the colors lean toward ically the use of circles and squares has posite, diffusion. The X creates a field that muted natural jute, and the black of

Jeanne Miles, Mandala #6. Gold and platinum leaf, oil on plexiglass. Jane Schneider, Altar, 1977. Wood, feathers, fibers, seeds, 24x12x10". Photo: Mary Donlon. Photo: ©Little Bobby Hanson, 1977.

28 nylon and steel, the sculptures are enliv­ sky that is coastal Maine. borrows heavily from the origami tradition ened by the use of brightly colored twines Amster observes nature with a keen eye in her solo show at Alternate Space. Her and beads. Schneider values the humaniz­ for color and shape. Painted outlines folded and watercolor-dyed paper pieces ing aspect of hand.iwork, so that each piece contour each element, charging these look like classroom exercises. Most of the is marked by a high standard of crafts­ scenes with the rhythm of a crisp wind works are folded into similar slender manship—each feather carefully wrapped, rustling branches or that of little waves forms, some purposefully torn, that never every bead securely bound. lapping at the shoreline. The planar rise above their crafty Oriental counter­ By traversing stone age and jet age constructions of these paintings allude to parts. The watercolor stains make a batik­ technology in her choice of materials, landscapes by Cezanne in their obvious like effect on the tissue, usually in rainbow Schneider affirms a belief in a collective reliance upon contemplation before setting progressions from green to blue to purple unconscious. For all our sophistication, any strokes to the canvas, while the ease or from red to yellow. At their best, Bell’s our rituals and symbols spring from the with which Amster employs her earthy collages are playful copies and same subliminal fears that motivate the colors speaks of Milton Avery. attain experiments that Frankenthaler primitive mind. Her sculptures become the But historical references alone cannot perfected in the ’60s. There is too little totem objects. The “Sticks” are efficacious elaborate sufficiently on the vivacity, the variation in technique, form, intent and tools dropped by some mythic warrior, or a deceptively effortless toil and the expres­ color to give this show body. The instal­ goddess of supernatural strength, and sion of joy that Amster imparts to her lation suffers too from the symmetrical, preserved through generations by loyal work. Every tree, every leaf and inlet dry hanging of five single works facing five devotees. These pieces are almost entirely appears anthropomorphic. For these single works and four double pieces facing crafted of natural materials, often employ­ paintings are no more based upon pure four double pieces on the remaining two ing the same techniques used by American objectivity than they are upon purely walls. Indians in their decorative arts. There is a subjective discourse. Amster orders nature —Jill Dunbar strong sexual power within these images, without forgetting that, before anything, it but it is symbolic of an active power is nature that orders her. She brings forth beyond the image itself. Though not lack­ the life, seemingly in smell and texture as ing in humor, the sticks denote a preoc­ well as in color, that is the pine tree, the cupation with the sacred. cool lake, the cliff. Barbara Grossman The “Strumpets,” formed by the an­ It is a treat to follow the sheer drop off (Bowery Gallery, April 1-21) Barbara cient totem idea acting on modern materi­ of a peak or to observe the horizon line Grossman showed figure paintings, land­ als, deal less with mystery and are more tugging at both ocean and sky. A bristly scapes and drawings. The works are quiet like individuals. They are in fact satirical spruce blossoms into a plush weave of and harmonious, with great strength of caricatures of easily recognized personal­ velvety greens, modified with soft blues composition. Their color is gentle, muted ities, such as Bitch and Vampire. The and a murky yellow. The ground shifts and and pale. The paintings don’t jump out at pulls in gravity and perspective. The air is sexuality of these objects is carnal, bound you, they sit back. The large scale so clear one can take it in exuberant gulps. to the characters, thus losing its mystical paintings are in general continuing a power, and relegating the objects to the “Paintings of Maine” are more than theme Barbara has been pushing and landscapes; they are telling portraits. realm of the profane. developing for several years. Its roots are These paintings are zesty, fragrant, fresh. — Carla Sanders in Matisse. She has been painting models and women friends life-size, from the —Janet Heit front, dressed in ordinary modern clothes. The paintings seem more like figure Sally Amster paintings than specific portraits. The models sit in chairs, at tables, often with (Prince Street Gallery, April 22—May 11) Annie Bell cups of coffee and houseplants around Sally Amster’s “Paintings of Maine” them. There is something unflinching in describe the beautiful roughness inherent (Alternate Space at Westbroadway Gal., her attitude toward the sitter. The newer in the craggy landscape of rock, tree and June 18-July 6) Mid-westerner Annie Bell paintings seem more conversational, re-

Sally Amster, The Bay, Summer Afternoon, Annie Bell, untitled, 1977. Watercolor collage. Barbara Grossman, Louise in Rocker, 1976. Oil 1976. Oil on canvas, 50x40". on canvas, 48x36". Photo: eeva-inkeri. 29 laxed and natural, and less posed, formal Shadowdance Series. Layers of vibrating tortoises are alive with texture, light and and abstract. almost pyramidal organisms move in personality. The sense of space created is not atmos­ rhythms resembling futuristic paintings The paintings at a glance are cold and pheric or three-dimensional, but an and become decodable hieroglyphs written uninviting, and there is great temptation abstract, non-illusionistic space, the kind in the haste of some intense emotional to dismiss them in favor of the turtle of space one senses in Matisse, Picasso, need. The fired clay and white enamel drawings. This response is due in part to DeKooning or perhaps in some earlier Awakening Series is less effective for its the flat solidified colors and stark compo­ artists’ work, Uccello or Utamaro, where loss of subtlety. Shiny, cream-colored, sitions in which craggy rock formations are there are clear airless layers with flat but slimy coiling forms bend and ripple like stamped upon pale slate backgrounds. beautiful shapes revealing the space. octopus arms obeying the contours of the The tortoise however draws the viewer’s Grossman’s paintings are involved with sinuous slab on which they rest. eye to play in its myriad shapes and lines combining organic body forms with the Emily Fuller’s works are comprised of and points of light and dark, for Cul­ human-made geometric forms of tables rather irregular squares, triangles and bertson has transformed its solid dome­ and rooms. The figure usually is in the rectangles seamed together to make a like hulk into living texture, tangled and middle of the composition and bumps into patchwork pattern suggestive of aerial intense as its primeval jungle habitat. But at least one edge of the canvas. In the views of a landscape or engineers’ plans of turn one’s back on the tortoise and look slightly smaller landscapes the involve­ some new urban development. In these closely at the island paintings, and their ment is also with composition or structure acrylic paintings the interior linear pat­ forbidding solidity dissolves into nuances and there is often a barn to balance the terns are sewn lines of subdivision echoing of color as cold stone and flat water are lumps of cedar and land forms. I believe the shape of each piece of material, and in described with unexpected textural rich­ this shows a considered point of view about the works on paper, interior markings are ness with a subtle light playing upon them. people and the things people have made accomplished by scratching out of lines The aloofness of the islands and the and how they fit in with nature. and dots, adding textural interest. The intimacy of the tortoise form a contrast While I felt that Barbara hadn’t works are monochrome, and Fuller prefers that is visually distracting at times, but completely found her own voice yet, these raspy and slightly off tones of red-purples, contribute to a depth the show might were large-scale, ambitious works, expan­ red-oranges, bright aquas. She manages to otherwise lack. Between the tortoise and sive and strong yet quiet. achieve considerable variety of both interi­ the islands the viewer stands absorbed in a —Marjorie Kramer or and exterior shape and shows a flair for puzzling field of thought, unable quite to giving vitality to geometric patterns. reconcile these two aspects of the artist’s vision. It is as if within the viewer’s mind —Barbara Cavaliere Diane Kaiser/ the remote lonely island of rock seeks its only means of union with the living island Emily Fuller which is its soul. (SOHO 20 Gallery, M ay 31-June 22) — Carla Sanders Works by two artists shared the space at Janet Culbertson SOHO 20 during the month of June. Diane Kaiser works loosely brushed gray- (Lem er Heller Gallery, April) “Islands,” toned ink washes to create an abstract cal­ Janet Culbertson’s exhibit at Lerner Hel­ Elba Damast ligraphy Oriental in flavor and suggestive ler, combined landscape paintings of is­ of the movement of the forces of nature. lands in the Galapagos and large drawings (Alternate Space at Westbroadway Gal., The Waterpoem Series are all-over gestur­ of tortoises, seen as symbolic islands. M ay 28-June 16) Because they fuse styles al works which have a soothing, feathery There is a sharp visual contrast between that have diverged in the history of 20th touch. The flurry of nimble, spontaneous the drawings and the paintings and it century art, Damast’s paintings seem dashes resembles shooting stars or blind­ forms itself into an emotional contrast as markedly ambitious. They are involved in ing blizzard conditions. Images become well. While the islands are depicted as the full range of possibilities the notion more centralized and hover in rows or sullen brooding forms imposing them­ “abstract” seems to present. They have clusters like the patterns of leaves in her selves upon the sea and mist and sky, the characteristics both of abstract expres-

30 onism and of the quasi-geometric linear we have become accustomed to seeing as handwritten fragments of a poem, the jstraction that preceded it. For instance, an illusionary tactic in realistic art here meter of which seemed to fit the descend­ ime of Damast’s color areas blot and fuse becomes real texture, Stember having ing nature of the painting; Sun Patch and haracteristic of abstract expressionism) crumpled the material and formed some Sun Wise, two tiny, square, colorful water- id others stay distinct, are even outlined, low relief areas blending with the flat, il­ colors hung next to Exploration, a very he balance of colors sets up rhythms lusionary areas. Beachball-like circles, large watercolor with centralized images hich, while large and conspicuous, are colored in swirling quarters of bright hues on a white field, which was more abstract iscontinuous, syncopated; they emerge (which seem to follow some color pattern) and expressive than most of Roser’s other id re-emerge from the linear spatial or- float across the surface and are framed by paintings, seemingly less tied to a (real?) mization of, say, crossed axes. Particu- squared-off areas of the brown backdrop. landscape. The artist also showed a rly in the triptych, In, During, and After The strident, lollipop colors are continued tapestry for which she did the design, in ebruary, the sense of variation on an es- in the streamers of rickrack which often which medium her disjointed elements on :ntially linear theme is strong. And there act as connectors for the bali-circles and a plain background worked very well. a sense of wit at play, indeed, one might further embellish the already highly orna­ —Ellen Lubell ren go so far as to say Damast has a witty mented surfaces. Stember’s is a long and ne, a scathingly witty one, like Francis tedious process; she works in acrylics on a aeon’s. Yet her work remains painterly. wet surface, unprimed where the folds : is characterized by the effect of rapid appear, going back and forth over various andling one associates with abstract ex- areas, reworking them to her high degree Site Sculpture ressionism, although it is rather more of finish as the paint is drying. (Zabriskie Gallery, June 21-July 29) In renly saturated than most expressionists’ —Barbara Cavaliere what seems to be an annual event, Zabris­ ork. kie showed the work of its site sculptors via The effect of contrasting depths that a display of photo-documentation and olds the color masses in such tension has models, plus a realized work designed for lore to do with the dimensionality Dam- Ce Roser the space. The latter was by Athena st evokes (only to destroy) than with Tacha, who was accompanied by Mary neven densities of paint. Anabolism, (Ingber Gallery, May 31-June 18) Roser Miss, Anne Healy and Lloyd Hamrol. atabolism, metabolism: these are paint - showed 20 works, oil paintings and water- Tacha’s tape sculpture stretched across lgs of complex process, but the synthesis colors, of which many belonged to her part of the gallery, from an “upper hori­ bey represent is a balance more difficult “Square Sun Series.” The majority of the zontal and adjacent vertical to opposite i describe than to perceive. In the paint- more recent paintings incorporate the lower horizontal and opposite vertical,” igs, it is dramatically present. And it is white of the ground as a major constituent producing part of a spiral. Twenty-three trong, as intense as the artist’s dark, of the compositions. Brightly-colored, bands of tape, like ivory paper about two arthy colors. minimally-indicated landscapes arch their inches wide, stretched and turned across —Patricia Eakins way over the whiteness. The square suns the space. She also showed six drawings of are rectangular lozenges, outlined or in alternate proposals for tape sculptures for two close sections that seem to indicate the gallery site. movement, phases, or the sun’s dynamic Miss was represented by a number of Vanev Malkin Stember volatility. photos depicting many on-site works. A The successful compositions vitalized large number of these combined circles Westbroadway Gallery, June 4-23) Nancy the entire canvases, mobilizing the sur­ with rectilinear elements that included dalkin Stember’s vividly colored and visu- faces. Among the best were Flight (1972- grids or just straight planks of wood; most illy stunning decorative abstractions are a 76), which looks like an electrified floral notable among these were her pieces for ilay on illusion and reality. The beige-to- still life energized in its angular vector; A the Battery Park Landfill (New York City), varm-brown ground depicts a puckered Quiet Beauty (1971), almost an abstract Sunken Pool (Greenwich, Conn.), and for naterial which forms rather deep folds, watercolor with a square sun, onto which Lewiston, New York. In addition, her poking closer, the surprise is that what are collaged pieces of paper containing many wood and rope pieces displayed her great feel for her materials and for and above all humanist—to produce large, investigates art as language. Her effei rhythms appropriate to her sites. impressive, often powerful drawings. The vescence contrasts sharply with her tougl Of Healy’s three models for sculptures, basic components of these works are minded involvement in the substance c two were architectural sculptures that tendrilous linear forms interwoven amidst paint and surface. The six kites making u would fill the huge inner court spaces in geometric divisions—sometimes rendered this exhibition range in size from si buildings at Wayne State University (to be in three dimensions—and laced with some­ inches to five feet and are so placed as t executed) and Stanford University (pro­ times copious written text. The texts are make an environmental statement. posed). Both utilized huge banners of written in tiny lettering, but the lettering is Greenstein is also exhibiting workin nylon sailcloth; at the former, they are exact enough to be easily legible to the drawings and documentation of her wori situated diagonally across the high (100 naked eye. In recent works Siegel has for the Sister Chapel, a monument t ft.) space, forming step-like movements, incorporated figurative images, specifical­ feminism which she conceived and organ each in a different color. In the latter ly of her social and political heroes, and in ized. This kite series reinforces her in space, the long, rectangular bands are some cases villains. A spectacular docu­ volvement with the theme of freedom fo hung parallel to the ground at different ment on the overthrow of Salvador Allende women, and her belief that “there is m levels and angles within the (60 ft.) space. of Chile—complete with crisp, precise ceiling on human potential.” depictions of Allende, Pinochet and other In both works the bright clean shapes of —Rhett Delford Browt color effectively slashed the enormous military leaders, scenes of marchers and of rigid blocks of space. tanks and soldiers in the streets, of Hamrol’s works, as seen via photos, prisoners being tortured, and, postscript­ utilized burlap bags filled with sand to ing the whole testament in the lower right form compact, contained, curved and/or corner, the Pentagon—is a case in point. Margie Billstein Katz spiralling stacks on sloping lawns or Even her more or less purely formal works (Razor Gallery, June 4-25) The painting around trees, displaying again his profi­ are informed as much by Siegel’s social of Katz’s “Human Experience Series ciency with shapes generally included in awareness and sensitive self-examination the roster of female images. There was also as by her eye and hand. take place on the abstract end of th abstract/representational continuum. I; extensive documentation of the site for, —Peter Frank each of them, an abstract figure wit! and the progress to completion of his share strong representational references ha of “The City Project,” a joint venture been dripped and scratched on a smooth) between New Gallery and Cleveland State brushed ground. The paintings are mos University in which four artists were each June Blum/ successful when the representational refer given a vacant lot to work with. His Ilise Greenstein ences, to human forms, are fully sub sculpture, of wood planks and the burlap sumed in the abstract compositions— bags, formed a sprawling near-cruciform (Stony Brook Union Gallery, April) Two shape. talented women shared the Union Gallery, when the viewer feels more caught up ii the kinetics of “experience” than in thi —Ellen Lubell State University at Stony Brook, N.Y. in April. June Blum of New York and Ilise descriptive of “human.” To have one’ Greenstein of Florida had also exhibited attention caught by what seems to be i here three years ago in a show entitled foot is to be drawn reluctantly from wha “Two Women.” one feels is the real interest of the paint Florence Siegel At first glance the work in the gallery ings: the rhythm, variety, and richness o seemed to be disparate in intent, but on the drippings and scratchings and th< (Exhibitionists, March 8-26) Siegel’s al­ closer examination the common denomi­ larger gesture of the compositions. Then most fanatically careful, yet deft, graphic nator of energy and intensity emerged. is a great deal of vigor in the shapes anc technique combines with an emotional Blum paints in oil to create her “Envi­ placements of the figures, and their denst commitment to several causes—socialist, ronmental Portraits” of well-known wo­ variety of texture compels scrutiny. Katz’i men in the arts as well as members of her drippings, and particularly her scratching family. These expressive, realistic portraits are deft and catlike. They suggest i are equally balanced between the sitter furiously playful attack, a cat after i and details from her particular life style. mouse. The metaphorical intentions are fully realized in the simple fact of figures Blum skilfully selects the appropriate palette to communicate her very personal built up in hundreds of tiny gestures on a interpretation. Her strong sense of line relatively bare ground. This Beckett-like and shape captures the spirit of the sitter, image of human experience is reinforced as in the successful rendering of Betty by the indeterminate edges of the figures, Friedan. The use of biographical elements which emerge from the ground without particularly enhance the portraits of Sylvia ever being separated from it. To mention Sleigh, Judith Van Baron, Cindy Nemser, metaphor and writer Beckett is not to ac­ and her Self-Portrait. In the paintings of cuse the paintings of being extra-visual. her sister, Joan Braile and of the Resigna­ The artist seems to be investigating the tion on T V Blum conveys a strong metaphorical possibilities of purely visual response to her subject through the use of experience, purely painterly means. She i; vibrant color. In all of these portraits the clearly an expressionist painter of forceful entire canvas illuminates the personality. intelligence and sensibility. These paint­ Greenstein is an abstract-conceptualist ings suggest others in which the self-con­ who is combining words with acrylics, sciousness that sometimes intrudes in lit- aluminum powder and silver glitter. Her erality will be contained in the gestures current format of free-hanging, diamond­ and rhythms of painting itself. shaped canvases, the Kites, is well chosen —Patricia Eakins Anne Healy, Color Crossection, 1977. (Wayne for continuing her dialogue between State University. Detroit General Hospital). poured, drip-stained painting and archi­ Model, scale: V*"—1\ tectonic, hard edge, printed letters. She

32 also seemed unimposing, hanging in the slick large room. book report / review Finally, the gallery has resurrected some of Hesse’s early work on masonite from 1964-65. It is an interesting return to her pictorial beginnings, but not very good ucy Lippard. Eva Hesse. 250 illustrations feminism, materials, humor and Hesse’s work, and therefore, rather a waste of so 52 pp. New York University Press. 1976 ever-present oppositions. much space. The back room would have The book is extensively illustrated with better filled with her drawings (there were VA HESSE RETROSPECTIVE over 250 photographs. The documentation none in the retrospective), but I suspect iroll/Kolbert, June 8-July 15 by Susan Ginsburg is outstanding. Both they are being saved for another show. the bibliography and catalogue raisonne of In all, these two ventures bring back This year Eva Hesse’s artistic spirit has sculpture are clear and complete. Hesse’s important work for a whole gener­ ome to the fore with a major first book One cannot judge the Droll/Kolbert ation who will rediscover her. Just before bout her by Lucy Lippard and a retro- show by Lippard’s book. One is a scholarly her death, in an interview with Cindy pective showing of her work at Droll/Kol- overview, the other a collection of actual Nemser (Artforum, May 1970), Hesse tert Gallery, the first in New York since work. The inaugural exhibit filled all three said: ier death seven years ago. Both survey her gallery rooms. In the first, a mixture of hort career, during which she made over smaller format sculpture and test pieces I don’t want to keep rules. That’s why 00 sculptures and many more drawings bear witness to Hesse’s striking and origi­ my art might be so good, because I :nd sketches. Hesse’s exploration of mate- nal uses of materials—galvanized steel, have no fear. I could take risks...I ials and sculptural form was as original as rubber tubing;latex on wire mesh; papier really walk on the edge...I want to my in the '60s “process” and “anti-form” mache over rubber hose; fiberglass on extend my art perhaps into something vave. wire; woodshavings, glue and string; alu­ that doesn’t exist yet... In the first pages of her book, Lippard minum and rubber hose. Her own shapes These statements have guided Lippard’s innounces her intent to “tread a fine and and repeated images are almost all present writing; they also challenge all those who langerous line between art and life,” while —flat, rubbery squares, clear tubes and now come to look at and make art. Hesse writing on Hesse. She quotes extensively winding cords, floppy vessels, staked and has left behind a body of original work, “perhaps more than seems necessary”) folded objects, circles and half-spheres. and in so doing, she has changed the scope tom Hesse’s own diaries, from past re­ Only the sculptametal works and fiber­ of the art world she wanted so much to news and from conversations with her glass cups (from Repetition 19) are mis­ admire her. fiends and colleagues. Lippard also knew sing. From this room, full of Hesse’s best —Jill Dunbar ier well; her own remembrances and exercises, the show slides downhill. critical reactions fall sparingly into the In the main area, three of her large :ext’s chronological format. The book does sculptures were installed. From 1966, much to dispell the myth of Hesse as a Hang-Up, a work which Hesse acknowl­ tragic artist. In its place, a complex, ever- edged to be “the most important early struggling Hesse emerges from the pages statement I made. It was the first time my 19th C. PRINTMAKERS —obsessed with her own intensely person­ idea of absurdity of extreme feeling came continued from page 9 al work; both emotionally insecure and through.” She bound a large stretcher intellectually determined to overcome it; in (6x7’) with cloth bandages and attached a the National Academy and the Society of deep need of others and yet always striving metal, umbilical-like cord which projects American Artists and in 1879, she submit­ toward a unique creative vision. seven feet into the room. While somewhat ted four prints, signed M. Nimmo to the In avoiding a “consistently personal” of a pun on painting, it is also a study in newly formed New York Etching Club and view of Hesse, Lippard the historian is what Lippard calls “a tension between was unanimously elected a member. The more in evidence than Lippard the critic. two- and three-dimensional space.” Aught New York Club and later the London She has left the critical monograph on (1968) was a further investigation of the Society of Painters-Etchers, to which the Hesse yet undone, although her comments “unpainted” painting. It was first seen in New York club was invited to send samples are included in the small-print sculpture a show organized by Robert Morris, “9 at of their work, took her to be a man and her notes and in the closing chapter, “Some Leo Castelli” in that year. Almost 10 years diploma from Queen Victoria and the Critical Issues.” Here, Lippard gets down later, it has lost some of its original communications from the London society to discussing artistic issues of influences, impact. Her untitled rope piece from 1970 were addressed to her thusly. In her article on “American Etchers,” published in The Century magazine of 1883, the critic, Mrs. Van Rensselaer praised Moran’s work saying: Mrs. Moran is, as yet, the only woman who is a member of the New York Etching Club, and no name stands higher on the roll. Her work would never reveal her sex—accord­ ing that is to the popular idea of feminine characteristics. It is above all things, direct, emphatic, bold— exceeding in these qualities, that of any of her male co-workers. (14) Anna Lea Merrit (1844-1930) was an­ other expatriate who maintained close ties with America. She studied briefly at the Pennsylvania Academy in 1867 and con­ tinued her studies in Paris, Rome and Eva Hesse, Installation view of assorted pieces (at Droll/Kolbert), 1977. Photo: Geoffrey Dresden. She married the English art Clements. continued on following page

33 critic, Henry Merrit. She was a member of these etchings bore for their time. the Society of Painters-Etchers, London, Clements was born in Philadelphia and reports exhibited in the Union League Club show studied with Robert Fleury and Bougue- and assisted in 1881 in organizing an exhi­ reau in Paris. Upon returning to the bition for the Pennsylvania Academy, United States, she became a member of ARTISTS SUPPORT WOMEN’S “American Artists at Home and in Eu­ the Pennsylvania Academy of Fine Arts RIGHTS DAY ACTIVITIES rope.” Mrs. Van Rensselaer in her 1883 and executed mural commissions as well IN NEW YORK article cited Merrit’s work as one of the as etchings. Hale was born in Worcester, strongest uses of what was called repro­ Massachusetts and studied with William The work of six New York women artis ductive etching. The images, primarily Rimmer and William Morris Hunt. Her was featured in a prominent Fifth Avent portraits, were partially based on painted work is comprised almost entirely of scenes window during the month of August 1 or photographic originals, often from her located on the eastern and western coast­ help publicize a Women’s Rights D; own paintings but were treated in an lines of the United States. By 1894, she march and rally, sponsored by New Yoi interpretative manner. She changed her had become a member of the New York NOW, on Saturday, August 27th. style and subjects to conform to the Etching Club and exhibited with them Exhibited in the 20-foot wide window i qualities of the new medium. regularly. (16) a former department store at Fifth Aveni The Boston and New York exhibitions The American women printmakers of of women etchers reflected the increased the second half of the 19th century do not interest in etching in America, as is also fit a single mold and do not represent a evidenced by the earlier formation of the particular movement. They were found at New York, Philadelphia and Cincinnati all levels and possibilities of printmaking. etching clubs in 1880. The Cincinnati club These women were serious, ever-present, had the distinction of having three women recognized in their own time, yet ignored as founding members. They were Mary in all subsequent studies of prints or Louise McLaughlin (1847-1939), Eliza­ American art. Their work, as well as beth Nourse and Caroline Lord. (15) Cin­ information about them is difficult to cinnati was the center of a strong women’s locate, yet they comprise a rich area art movement which produced the wood waiting, hopefully not for long, for greater carvings which dominated the Woman’s research and critical attention. and 40th Street, now owned by the Net Pavilion of the Philadelphia Centennial York Public Library, were paintings Exhibition of 1876 and was one of the FOOTNOTES drawings, graphics and sculpture, as we leaders of the Arts and Crafts movement, 1.Frank Weitenkamf, American Graphic Art, (New as books and posters about women. At especially in the area of art pottery. Un­ York: Johnson Reprint Corporation, 1924 [1970]), works included were a series of four-colo p.14. fortunately, the works of Lord and Nourse 2.Although Fanny Palmer is known primarily as a collage-etchings by K. Caraccio; six smal are impossible to locate, but McLaughlin’s lithographer, her training was originally as a fine copper sculptures, some with flame-cre artist and as early as 1844 she exhibited a painting ated coloration, by Nan Magenheim; twi pottery was included in the Cincinnati called Snowdon of North Wales at the National Museum of Art’s 1976 exhibition, “The Academy of Design. multi-media sculptures in styrofoam, plas Ladies, God Bless Them.” She also wrote Palmer was originally sent out as a “ camera" eye tic and cardboard by Sophie Newman; ; for Currier and Ives. She sketched suburban scenery a small manual on etching and exhibited —farmhouse, tollgates and country lanes to which series of four metalpoint drawings b; etchings in Cincinnati and New York, as other artists added figures. Later, she produced her Susan Schwalb; four small aluminun own designs, many of which were signed. well as in the Union League Club show. 3. Harry T. Peters, Currier and Ives, Printmakers to sculptures, one of which can be worn as i The New York Public Library owns one of the American People, (Garden City, Doubleday, ring, by Rosalie Schwartz; and a group o Doran & Co.), 1929, pp.110-116. six self-portraits in paint, pastel and othe her etchings—a three-quarter length 4.Cooper Union Annual Report, 1860-61, p.29. drawing of a woman. The Library of 5.Ibid. media by Sharon Wybrants. 6.Cooper Union Annual Report, 1871-72. The artists—all of whom are feminists— Congress possesses four of her undated 7.Phil Kovinick and Gloria Ricci Lothrop, “Women monoprints which reveal an interest in a Artists: The American Frontier,” Art News, vol. 75, felt it important to express their suppor Japanese sense of pattern, as well as the Dec. 1976, p.75. for the August 27 activities by including ; 8.S.R. Kohler, Museum of Fine Arts Department Ex­ hand touch sensibility implicit in the Arts hibition of the Work of Women Etchers, (Boston: signed statement in the window along witl and Crafts movement. Museum of Fine Arts, 1887), p.5. their work. The text read as follows: 9.Clara Erskine Clement, Women in the Fine Arts, The etching movement fostered a par­ (Boston: Houghton, Mifflin and Company, 1904), ARTISTS FOR WOMEN’S RIGHTS ticular style and subject matter. It was p.149. The problems women artists face are thi 10. Marianna Griswold (Schuyler) Van Rensselaer, derived from Whistler’s etchings of Venice The Work of the Women Etchers of America, (New same all women face. W ithout equal right: and sought a quiet, picturesque quality in York: The Union League Club, 1888), p.5. we continue undergoing obstacles to living the American landscape. The etchings, 11. Frederick A. Sweet, Miss Mary Cassatt, Impres­ fu ll creative lives. In 1920 women won tht sionist from Pennsylvania, (Norman: University of whether of American backwaters or the Oklahoma Press, 1966), p.117. vote. Now it’s time we win equal rights. sites of Europe, represented a saleable 12.Ibid., pp.120-121, 122. Saturday, August 27th is Women’s Day it 13.Thurman Wilkins, Thomas Moran, Artist of the record of a type of nomadic freedom which Mountains, (Norman: Oklahoma University Press, New York. Noon. A t Columbus Circle. women artists partook of in increasing 1966), pp.48-49. The project originated with Lilliar numbers as the century closed. The etch­ A Catalogue of the Complete Etched Works of Thomas Moran and M. Nlmmo Moran, (New York: C. Lopez, head of Special Projects for the ings of this type, such as those by Ellen Klackners, 1889). New York Public Library, and librariar Day Hale (1885-?) and Gabrielle de Veaux 14. Marianna Griswold (Schuyler) Van Rensselaer, American Etchers, (New York: Frederick Keppel & Elizabeth Hale who were planning a Clements (1856-1948), both contributors Co., 1886), p.18. window display of books and posters to the Union League Club show, repre­ An extended version of an article first published in Century Magazine, 1883. relating to Women’s Rights Day. They felt sented a revolt against the earlier etching 15.Weitenkampf, American Graphic Art, p.8. that the inclusion of art works by women tradition of dense complex scenes. They Additional information on Mary Louise McLaughlin would add an exciting element, and may be found in: chose instead to emphasize qualities of Clara Erskine Clement, Women in the Fine Arts, approached sculptor Rosalie Schwartz, simplicity and rendered their etchings of pp.233-234. who is also a member of NOW, with the marine subjects in a pen and ink drawing The Ladies, God Bless Them, (Cincinnati: Cincinnati Museum of Art, 1976). idea of involving women artists. Even style. This style has become exceedingly 16.Judith Bernstein, Madeleine Burnside, Jeanette though the deadline was extremely tight, well-liked in the 20th century as a popular Ingberman, Ann-Sargent Wooster, 19th Century American Women Artists, (New York: Downtown all the artists immediately agreed, and also type of drawing and painting sold in Branch, Whitney Museum of American Art, 1976). participated in designing the window and seaside towns. Its present day plenitude hanging the exhibit. does not negate the revolutionary qualities The artists recognized the necessity of

.14 wSmari-art-wdrld protecting their work against theft, fire or other loss by arranging for insurance, but the library’s budget only permitted them Women Artists: 1550-1950, the exhibit on a poster for the show available from the to pay for the window decoration supplies. curated by historians Ann Sutherland museum for $1. Among the events will be a The artists, who were also not in a position Harris and Linda Nochlin which opened to talk about the show on October 15 by to cover the $150 insurance premium, great acclaim in Los Angeles earlier this Elizabeth Weatherford, and a panel approached N.Y. NOW with the problem, year opens at the Brooklyn Museum discussion and debate on October 23. and happily the organization, understand­ October 1 for a two-month stay. * ing the valuable contribution of the artists Numerous events comprise the program to the publicizing of Women’s Rights Day, at the museum throughout the show. SOHO 20, a New York feminist cooper­ agreed to pay for the insurance. Gallery talks, women’s films and women’s ative gallery, sponsored “Women’s Art An artists’ contingent was planned for music will be frequent activities. At Across the U.S.A.,” a continuous slide/- the march and rally—a day of activities in presstime, the museum would confirm sound presentation that showed the work defense of abortion rights, affirmative only a few dates: October 2-Ann Suther­ of each of the members of 14 collectives action, for the passage of the ERA, and in land Harris lecture; October 8, 30-Pro- and cooperatives from all over the country support of lesbian and gay rights. grams of women’s music; November 12- for three days in June (23-25). Those included in Part I (the gallery plans to —Rosalie Schwartz Nancy Mowll, assistant professor of architecture at Randolph-Macon College continue the series) were: ARC (Chicago), will lecture on “Demythologizing Cassatt” ; Artist’s Company (Washington, D.C.), November 13-Perry Miller Adata will Artemesia (Chicago), Atlanta Women’s BRIDGEPORT discuss the Mary Cassatt film she has Collective (Atlanta), Central Hall Artists ARTISTS’ STUDIO— directed. Contact the Brooklyn Museum (Port Washington, N.Y.), Fairfield 8 THE FACTORY for schedule of events. (Fairfield, Conn.), HERA (Wakefield, R.I.) 12 Women from Westchester (West­ * After long, unfruitful months of studio chester, N.Y.), WAIT (Miami), WARM hunting, six Connecticut artists made their Opening concurrently with Women (Minneapolis), Womanspace (Boulder, home last May on the top floor of the Artists: 1550-1950 at the Brooklyn Muse­ Colo.), Women’s Caucus for Art (Kansas Allied Elevator Building in the industrial um will be Contemporary Women: Con­ City Chapter), Women Artists of the city of Bridgeport. Painters Barbara Hart, sciousness and Content, October 1-27. Northwest (Seattle), Women’s Studio Jane Sax, and Sherry Snedeker and Curated by artist Joan Semmel, the exhibit Workshop (Rosendale, N.Y.). Artists’ sculptors Cherie Reichgut, Martha Barret will display work by 29 artists—Eleanor statements were heard while slides of their and Pat Vingo converted the 2,400 square Antin, Lynda Benglis, Judith Bernstein, work were projected. In addition, English foot, 14 foot high factory space into a sun­ Louise Bourgeois, Cynthia Carlson, Judy artist Alexis Hunter showed slides of and drenched, white washed cooperative art­ Chicago, Mary Beth Edelson, Audrey discussed the work of women artists in her ists’ studio. Flack, Mary Frank, Nancy Grossman, country on June 23. For each artist the major goal in Harmony Hammond, Anne Healy, Eva * forming the cooperative was adequate Hesse, Buffie Johnson, Joyce Kozloff, working conditions. Barbara Hart had Ellen Lanyon, Pat Lasch, Marisol, Ree The Sister Chapel (see Womanart, been painting in a poorly lit basement, Morton, Louise Nevelson, Miriam Schapi- W inter-Spring 1977) will open in time for the College Art Association/Women’s Martha Barret was sculpting marble in an ro, Joan Semmel, Sylvia Sleigh, Joan Caucus for Art meetings in New York in old barn in Hamden, and Jane Sax had Snyder, Anita Steckel, Pat Steir, May January at a location to be announced converted her living room into a furniture- Stevens, Michelle Stuart, Hannah Wilke less studio. Cherie Reichgut was welding —in the Art School. soon. The collaboration of 13 women artists is intended as a traveling show. in an unheated garage and Sherry Snede­ Stating in her introductory text that Artist Diana Kurz will be replacing ker painted canvases while perched on a “...there seem to be several basic content original Chapel artist Ronni Bogaev with balcony overhanging her living room. areas in which women center their a painting of the Hindu goddess Durga. Most of the six artists have young chil­ imagery,” she has based the exhibition on dren at home and an active family “four thematic ideas which occur with * schedule. Frequent interruptions, feelings uncommon frequency in women’s art: Howardena Pindell, artist and assistant of isolation and dubious professionalism sexual imagery both abstract and figura­ curator in the MOMA Department of were additional incentives for creating a tive; autobiography and self image; the Prints and Illustrated Books since 1971, cooperative studio with an unlisted phone celebration of devalued subject matter and has been promoted to the position of number. The group of chairs in the center media which has been traditionally rele­ associate curator in that department. She rear randomly arranged for spontaneous gated to women; and anthropomorphic or has directed numerous shows at the rapping is evidence of another important nature forms.” museum, and has had many one-woman reason for the co-op—they provide each Semmel’s statement, photos of the shows, the next of which will be in October other with understanding and artistically artists, and program listings for events at Just Above Midtown Gallery. educated ears. surrounding this exhibit will be included Now the artists feel they have achieved some of their goals; Hart, Reichgut and Barret recently showed at Moon Street Gallery in Westport, Sax has just exhibit­ that more artists will participate. noxious fumes.” Their attorney, a “sup­ ed at Fairfield University and the Ameri­ This is a happy ending to a long struggle porter of the arts” was not only ineffectual cana Hotel in New York, and was chosen, for the six partners. During their recent but proved himself to be more simpatico to with Barbara, for the New England adventure of locating a studio they found the landlord, addressing his clients with Exhibition. that being artists and being women was a “Sweetie, if you want your money back The group foresees using the studio double jeopardy. The painful education good luck to you.” They finally did win space additionally as a gallery to show began with a Norwalk hat factory. Before back their money, and even more, they their own work to the public. They have they could even see their lease they had to won a chance to realize their productivity, been so satisfied with the fruits of their make partial payment. Amongst other ab­ mutual support and earned friendships. labor that they hope to expand to an surdities their contract stipulated that —Nancy Malkin Stember adjoining section of the factory, provided there was to be “no noise, no dust and no

35 Shirley Marguerite Suzanne Bach Doernbach Weisberg

October 8 —27

The Alternate Space Gallery at Westbroadway 431 West Broadway New York, NY 10012 (212) 966-2520

MARION The Concept Howardena RANYAK As Art Pindell

David Hammons Senga Nengudi Noah Jemison Randy Williams Works with Paper/Video Drawings PATTERNS IN NATURE October 11 — November 5 September 6 — October 8 —ACRYLIC PAINTINGS—

NOVEMBER 5 — 30

JUST ABOVE MIDTOWN, INC SMWM 50 West 57th Street 99 Spring Street New York City 10019 New York, N.Y. 10012 Tuesday—Saturday 10—5 (212) 226-4167 Tues.—Sat. 12:00—6:00 p.m.