us less primed to notice when the The Female women are dominating in the present. It was an L.A. gallerist who first pointed out to me the “badass Cool School lady painters” working in Los Angeles. right now. “Something’s going on with that,” he said, adding that he was Usually, art movements or “schools,” giving me a scoop, which he was. As acquire names for reasons of soon as their badassery had been expedience. Critic Irving Sandler singled out, I couldn’t help seeing named Color Field Painting, because Sarah Cain, Allison Miller, Laura he needed a title for the chapter Owens, Rebecca Morris, and Dianna on Clyfford Still, Barnett Newman, Molzan as a cohesive group, female and Mark Rothko in his book The artists whose coexistence in the same Triumph of American Painting. Critic region is consequential rather than Jules Langser and his friend Peter coincidental. Because they’re based in Selz coined Hard-Edge Abstraction Los Angeles, and tied together by an because they needed a name for a aesthetic attitude, they remind me of show linking Lorser Feitelson, John the The Cool School posse from Los McClaughlin, and Karl Benjamin— Angeles’ midcentury heyday—Irwin, all California artists with a preference Moses, Bell, Altoon, et al.—studio for sharpness and clarity. The term rats united by a moment and a certain Light and Space emerged similarly spirit. The Cool School, though, is an from a group exhibition’s title. Many of all-male frame of reference, so maybe these schools consisted mostly of men it’s better to adhere to no frame. (Selz and Langser notably left female Born between 1969 and 1979, hard-edger Helen Lundeberg out of all of these female L.A. painters have their exhibition); the catch-all Feminist self-possessed, un-heroic approaches Art Movement being the exception. to mark making, mixed with quiet Just this summer, Yale University rebelliousness and full-on dedication. Press published what they called The work reads as easygoing, but “a long-awaited survey,” Women of that’s deceptive. Leaving things un- Abstract Expressionism—every time finished or loosely formed on purpose I see the title, I think of a scene in Ann often seems easy or nonchalant even Rower’s book about Lee Krasner and if it’s really something else, such Elaine De Kooning, Lee & Elaine (1988). as deep aversion to hierarchy (aka Rower closes her eyes and tries to patriarchy). And being routinely, imagine that Lee and Elaine did it first, methodologically breezy undermines that their husbands copied them, and stereotypes of feminine flightiness then lied about it. But even with eyes so effectively, it’s hard in the moment closed, she feels the overshadowing to remember they exist. force of Jackson and Willem. Books These painters have crossed like Yale’s new survey, and shows like paths and exhibited together in Hauser, Wirth & Schimmel’s recent piecemeal—Cain and Morris in a Revolution in the Making: Abstract two-person Chinatown show in 2009, Sculpture by Women function almost as correctives, acknowledging female- identified artists as important and Catherine Wagley writes about art and visual culture in Los Angeles. She is currently art critic for influential too. Maybe that ongoing LA Weekly and frequently contributes to a number preoccupation with correcting makes of other publications.
12 Catherine Wagley Feature
2 and only 1 13 Artforum interview, tists have no qualms no qualms tists have In a 20 The ar O Abstraction has been described has been described Abstraction 3 in America 2009. , May less likely to adhere to already estab- already to adhere to less likely and expectations. lished patterns reinforcing again, and over itself over or naming language itself the way itself. Their lack of ambivalence and of ambivalence Their lack itself. locate such a different relationship a different such locate painter York on New in an essay context of feminist mark-making, “un- mark-making, of feminist context doing so does not read as an aim in as an aim read not does doing so expressionism in outright disinterest clear kindred spirits, though they they spirits, though clear kindred circumstantial, the result of histori- the result circumstantial, to power. relationships different cally described in a 2014 essay (in which he (in essay in a 2014 described erly mannerisms: Alex Olson, Mari Olson, erly mannerisms: Alex unknowability as a feminist virtue, a as a feminist unknowability knowable” has a more pragmatic use. use. pragmatic has a more knowable” has a DNA imprint that will replicate means they’re not really aligned with aligned really not means they’re reasons related to imagery to related and paint- reasons might be a vague kindred, as might kindred, might be a vague authority and mas- against reaction peripherally with gestures of refusal and refusal of with gestures peripherally May 2014. May 2013. Pressel, York: New would fit as easily in. fit Bartwould Exposito the unperceivable), but here, in the here, but the unperceivable), what it meant pondered Owens Laura completely. inhabit her gesture to the Provisional Painting Raphael Raphael Painting the Provisional in 2009, outlined Rubinstein Eastman, Monique Van Gendersen, Gendersen, Van Monique Eastman, right now men working Fewer ford. New York-based Zak Prekop, or Matt Prekop, Zak York-based New tery. Caitlin Lonegan, and Mary Lonegan, Weather- Caitlin Connors. This gender divide is likely This gender divide is likely Connors. to Helen Molesworth tried Curator 2. Godfrey, Mark, “Statements of Intent,” Artforum of Intent,” Mark, “Statements , 2. Godfrey, or Two. Sillman: One Lump Molesworth,3. Helen, Amy
L.A. are painters ther female 1. Rubinstein, Raphael, “Provisional Painting,” Art Painting,” “Provisional Raphael, Rubinstein, 1. A gesture that isn’t predetermined is predetermined that isn’t A gesture Amy Sillman in which she discussed in which she discussed Sillman Amy Ab-Ex reliant “fakery” Mark Godfrey Mark Godfrey “fakery” Ab-Ex reliant a rule; recognizable imagery does a rule; recognizable occasionally. appear though up space, taking about aren’t in my imagined exhibition for for in my imagined exhibition aren’t as “unknowable” before (in terms of (in terms before as “unknowable” out or seeking all-black canvases, actually did discuss Owens). did discuss actually “Isn’t it interesting that a male orgasm that a male orgasm it interesting “Isn’t wn ) (2013) by Rebecca Rebecca ) (2013) by When I imagine them sho When I imagine in Abstraction and in 2014, at LACMA so on—but no curator has ever invited invited has ever curator no on—but so is intermittent, a choice rather than rather a choice is intermittent, suspended on top of the graffiti, is a of the graffiti, on top suspended swooshes of teal, green, blue, purple purple blue, green, teal, of swooshes surface that has been punctured with surface that has been punctured into an expanse of white interrupted interrupted of white an expanse into Variations: Conversations Conversations Variations: into curated of color on linen that doesn’t stretch stretch on linen that doesn’t of color casually above lots of black specks. above casually cut-out fringes along the bottom. fringes along the bottom. cut-out cracked, stained concrete, not at not concrete, stained cracked, opposite wall is a new untitled is a new wall opposite only by a very light pink circle. Miller’s Miller’s a very light pink circle. only by by geometric incisions, hovering hovering incisions, geometric by pink and gray graffiti-like marks graffiti-like pink and gray 2014 Whitney Biennial, Cain and Cain Biennial, Whitney 2014 all Owens and Cain Molzan, 2013, painting by Laura Owens, impasto impasto Owens, Laura painting by painting, while significantly smaller painting, while significantly red half-moons appear on a light pink appear on a light pink half-moons red which look like holes. The half-moons, until, intervals line up at regular bows, , massive , massive Supreme Being Cain’s Sarah watermelon slices or disoriented rain- or disoriented slices watermelon frame. Painterliness in all the work in all the work Painterliness frame. together, I see the exhibition clearly: clearly: the exhibition I see together, them all to show together at once. once. at together show them all to Miller in a show in a former bank in bank in a former a show Miller in Molzan, a hazy wash and splotches and splotches a hazy wash Molzan, Morris, an army green circle broken broken circle Morris, an army green that includes a sheep. Next comes Next comes a sheep. that includes (#04-13 Untitled frame of painted stripes lined with stripes of painted frame Owens and Morris appearing in the in the appearing Morris and Owens than Cain’s, holds its own. On the holds its own. than Cain’s, (2015), in which blue and Hour (2015), in which blue Miller’s Cain made this in 2009, and it hangs made this in 2009, Cain
a methodology. Abstraction too is too Abstraction a methodology. than rather preference a functional all the way to the bottom of the the bottom to all the way and bordered in gold leaf, hangs on hangs in gold leaf, and bordered It’s white. isn’t that thankfully a wall loose painting, In Cain’s all pristine. the gold leaf and then, appear above and red overlaying a cartoon image overlaying and red abruptly, the pattern stops and fades and fades stops the pattern abruptly, a few generous feet away from Allison Allison from away feet generous a few (2009) by Dianna by (2009) Untitled Then there’s might,” she mused, “but the female “[T]here has to be a degree of orgasm has no use, no mark, no the unknown for me to proceed with a locatability? It can’t even be located painting or body of work, or else it is in time. […] I want to think about how just execution without discovery,” said that can be the model for a new ges- Molzan in 2011.7 Space for discovery ture.” She added, “That sounds really means unexpected results, Miller gendered, but it’s not—”4 This new said in 2011: “Since there is no real gesture, she tried to explain, would planning involved in the making of be distanced from the signature and the paintings, they are as much a narrative of the artist, more about the surprise to me as to anybody looking experience of the process and object, at them.”8 Morris spoke in 2013 about for artist and viewer. Her version of how the process of painting involves process art sounded less like Robert translating what one wants internally Morris’ “means over ends” approach, into an external form, and how some- more like Eva Hesse’s desire to push times, when they emerge, her wants against “singleness of purpose” in aren’t what she expected. “I don’t like favor of something less goal-oriented, planning too much in advance,” she “to achieve by not achieving.”5 said, “because I want to be fully open Sarah Cain also talked about to that moment—to that transition avoiding goals in a 2013 interview with from the inside to its manifestation in MOCAtv, in which she grappled with the outside world.”9 gender. “I’ve been owning up to the The results of this unplanned-ness, super femme idea recently and going unsurprisingly, differ across all five really big with femininity,” Cain said, artists’ work. The quietness of Miller’s “which is about a lot of things, but intuitive language can’t be mistaken I think it’s also a way of processing for Owens’ assertiveness, or for Cain’s what it means to be a woman, what femme-informed graffiti. But still, power means.” She explained that choices appear contingent, made in she would enter a zone, processing relation to each other (i.e., unplanned). femininity via her manipulation of Artist Penny Slinger, a radical to the materials and generating an instinc- core, has talked about how frustrating tive sort of language for the work that she found 1970s feminism—her peers might seem “really dumb” at first, to trying to take for themselves the viewers and even to her. The work recognition they hadn’t had, rather behind her in the studio as she spoke than rethinking success and power included a large amount of pink and altogether. Not planning on purpose is purple, strips of canvas bunched up a way to be uncertain without being like ribbon and applied like a frame insecure. It’s thus not surprising that to the edges of a finished painting. female artists, expected to be less These girly markers were messy, confident and thus better situated to divorced from “prettiness,” and they rearrange what confidence looks like, took on an intuitive fierceness that would front this particular approach. only seemed intentional because it And in Los Angeles, where there’s was so consistent. “If I know what I’m historically less pressure to conform doing, or if I know what the painting’s to historical and academic models, going to look like,” she continued, they perhaps have the physical and “there’s really no point in doing it.”6 psychological room they need. Molzan, Miller and Morris agree that In the exhibition I’ve imagined, predetermination can be a hindrance. the artists’ work together communicates
4. Lehrer-Graiwer, Sarah, “Optical Drive: Sarah Lehrer- 7. Hainley, Bruce, “Dianna Molzan,” Kaleidescope, Graiwer Talks to Laura Owens,” Artforum, February 2013. Winter 2011.
5. Hesse, Eva, “untitled statement,” Art in Process IV. 8. Lupo, Nancy, “Interview with Allison Miller,” Finch College, 1969. Artslant.com, 2011.
6. “Sarah Cain: The Artist’s Studio,” MOCAtv, October 9. Cahill, Zachary, “Rebecca Morris: 500 Words,” 18, 2013. Artforum.com, September 6, 2013. a pulse and sense of place, one force, mapping the way that key that’s influenced by sprawl, empty facets of its sensibility have dispersed lots, and imperfections. It evokes an across a region. Dispersal means intensity that isn’t territorial, a West greater influence; you can’t deflate a Coast punkishness. But it seems canon singlehandedly. annoyingly linear to call these artists a school and give it a name. The work resists that way of thinking and categorizing and thrives on its own disinterest in formal pronouncements. At the same time, recognizing the overlaps gives the work a collective
3 2 Rebecca Morris. Untitled 1 Sarah Cain, Tessie (2015). (#16-15) (2015). Oil and spray Allison Miller, Flush Arch (2015). Acrylic, gouache, potholder, paint on canvas. 75 x 75 inches. Oil, oil stick, acrylic and pencil beads, string, and glitter Image courtesy of the artist, on canvas. 60 x 58.5 inches. on canvas. 28 x 15 inches. Corbett vs Dempsey, Image courtesy of the artist Image courtesy Honor Fraser Chicago, and Galerie and The Pit, Los Angeles. Gallery, Los Angeles. Photo: Barbara Weiss, Berlin. Photo: Joshua White/JWPictures.com Lee Tyler Thompson.