Abstraction

Confronting the Canvas: Women of Abstraction

Episode 42: The current state of abstraction of the female artist working in New York.  The Museum of Contemporary Art Jacksonville presents Confronting the Canvas: Women of Abstraction, an exhibition that features over thirty works by six contemporary artists and that will run until September 4, 2016.  Brooke talked with Assistant Curator Jaime DeSimone about how Confronting the Canvas not only showcases women at the forefront of today’s New York art scene, but also provides insight into the work of women from previous periods, whose art was often overshadowed by that of their male counterparts.

 

FONeill_leading_84x84_2014

© FRAN O’NEILL,
leading, 2015.
Oil on canvas, 84 x 84 inches.
Courtesy of the artist.

FONeill_dont-back-down_66x66_2014

© FRAN O’NEILL,
don’t back down, 2015.
Oil on canvas, 66 x 66 inches.
Courtesy of the artist

 

JN_Brass Instrument

© JILL NATHANSON,
Brass Instrument, 2015.
Acrylic and polymers on panel, 60 x 60 inches.
Courtesy of Berry Campbell Gallery.

JS_Profile-Yellow Yuskavage

© JACKIE SACCOCCIO,
Profile (Yellow Yuskavage), 2015.
Oil and mica on linen, 106 x 79 inches. John and Sally Van Doren.
Featured Image:
© ANKE WEYER
Abstraction Repulsion, 2014.
Oil and acrylic on canvas, 78 x 40 inches. Hort Family Collection.
Photo courtesy of CANADA. Photo by Jason Mandella.
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Far Wide Texas

Episode 34: One of the most significant artists of the 20th Century, Georgia O’Keeffe (1887-1986) was devoted to creating imagery that expressed what she called “the wideness and wonder of the world as I live in it.”  The Georgia O’Keeffe Museum, located in Santa Fe, New Mexico, offers insights not only into the artist’s paintings, but also her creative process and the light and landscape that inspired her.
Brooke talks to Dr. Cody Hartley, Director of Curatorial Affairs, about Georgia O’Keeffe’s Far Wide Texas, a collection of watercolors the artist created during the time she lived in Canyon, Texas (1916-1918). This was a period of radical innovation and marks O’Keeffe’s commitment to abstraction. Dr. Hartley explains how these paintings exemplify O’Keeffe’s refusal to be restrained by convention or to be defined by others.
In the words of O’Keeffe herself, “Take time to look…” And to listen.

Train at Night in the DesertTrain at Night in the Desert, 1916 Georgia O’Keeffe Watercolor on paper 11 7/8 x 8 7/8 (30.2 x 22.5) Amarillo Museum of Art. Purchased with funds from the National Endowment for the Arts, Amarillo Area Foundation,Amarillo Art Alliance, The Mary Ann Weymouth Campbell Foundation, Santa Fe Industries Foundation,and Mary Fain (AM.1982.1.4)© Amarillo Museum of Art

Blue Line, 1919

Blue Line, 1919 Georgia O’Keeffe Oil on canvas 20 1/8 x 17 1/8 (51.1 x 43.5) Georgia O’Keeffe Museum Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation (1997.04.004) © Georgia O’Keeffe Museum

 

 

 

Nude Series VIII, 1917

Nude Series VIII, 1917 Georgia O’Keeffe Watercolor on paper 18 x 13 1/2 (45.7 x 34.3) Georgia O’Keeffe Museum Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation (1997.04.011) © Georgia O’Keeffe Museum

Featured Image (at top of the page) Cody Hartley standing by Autumn Trees – The Maple, 1924. Oil on canvas, 36 x 30 in (91.4 x 76.2 cm). Georgia O’Keeffe Museum, Gift of The Burnett Foundation and Gerald and Kathleen Peters. © Georgia O’Keeffe Museum.

 

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