Women and Abstraction in America

By Suzanne Cohen

Abstraction was one of the major paths American female artists experimented with during the 20^th century. It was a constant starting point for Georgia O’Keeffe’s abstract experiments, resulting in dynamic stylizations of the physical landscape and flowers, as well as Lee Krasner’s and Helen Frankenthaler’s engagement with large-scale abstraction informed by Abstract Expressionism and Color Field painting, and the contribution of contemporary painters such as Amy Sillman, Jacqueline Humphries, Louise Fishman, Kathy Crowe and Dashiell Manley, among others.

Mary Abbott, Untitled, 1952, oil and charcoal on paper mounted to canvas, 22 ½” x 30 ½.” Courtesy of McCormick Gallery.

On April 18, the Cornell Fine Arts Museum in Winter Park will open “Women and Abstraction,” a show curated by Amy Galpin, Ph.D., which looks not only at last century examples, but also demonstrates the role of abstraction in contemporary art. “The exhibition highlights works from our collection yet casts a wider net, weaving a larger narrative made possible by several important loans,” said Ena Heller, Ph.D., the Bruce A. Beal Director of the Cornell. “In keeping with our teaching mission, it hopes to make us rethink some prevailing notions in the story of American Abstraction.”
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The facts about the presentation of works by women at major museums are grim. Just 5 percent of the works presented in modern and contemporary art galleries in the United States were created by women. Despite the fact that women represent over 50 percent of the population of artists, their male peers have more gallery representation and their work sells at higher prices. In particular, Abstractionism has been dominated by larger-than-life male artists-particularly in the case of Abstract Expressionism and Minimalism. To diversify understanding about American art, this show aims to shed light on the contribution of women artists to Abstraction from the post-war period to the present.

Rosemarie Castoro, Green Blue Orange Y, 1965, acrylic on canvas, 84” x 84.” The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College. © Rosemarie Castoro. Courtesy of the artist and Broadway 1602.

Although by no means exhaustive, “Women and Abstraction” seeks to examine the legacy of women artists and to understand a fuller, more dynamic story of modern and contemporary art. It pretends not to limit the ways we read the included artists by gender, but attempts to heighten visitors’ understanding of the abstract tendencies in American art and present a broad historical survey highlighting the historical continuum of Abstraction and its ongoing innovation. Thematic groupings highlighting formal relationships and influences, such as architecture and the natural environment, provide a mapping for the exhibition. Moreover, while works by major artists ground the exhibition, this project also highlights creators who have not received proper attention. Participating artists include Mary Abbott, Ruth Asawa, Alma Thomas, Amy Sillman, Louise Nevelson, Elaine de Kooning, Barbara Kasten, Howardena Pindell, Lee Bontecou, Rosemarie Castoro, Mary Heilmann, Hayal Pozanti, Carmen Herrera, Lee Krasner, Doris Leeper, Jane Manus, Nava Lubelski, Julie Mehretu, Joan Mitchell, Sarah Morris, Georgia O’Keeffe, Shinique Smith, Ellen Garvens, Dana Hargrove, Pat Steir, Jessica McCambly and Barbara Sorensen.

“Women and Abstraction” will be on view through August 2, 2015 | Cornell Fine Arts Museum, Rollins College 1000 Holt Avenue, Winter Park, FL 32789 | www.rollins.edu/cfam