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The Time Is N♀w
Women Artists at Michael Rosenfeld Gallery

June 17 – August 4, 2017


1 of 36

Ruth Asawa (1926-2013)
Untitled (S.769/60), c.1960
brass wire
22" x 25 1/2" x 16" / 55.9 x 64.8 x 40.6 cm 

Hannelore Baron (1926-1987)
Untitled, 1981
box assemblage of wood, paper, ink, monoprint, crayon and metal wire
12" x 6 7/8" x 5 1/8", signed and dated

Hannelore Baron (1926-1987)
Untitled, 1981
box assemblage of wood, glass, ink, paper, fabric and monoprint
12" x 6 3/4" x 3 5/8", signed and dated

Mary Bauermeister (b.1934)
Functional Nonsense. Nonfunctional Sense, 1971
ink, stone, glass, glass lens and stainless steel construction with printed background
13 3/4" x 13 3/4" x 7 1/8", signed and dated

Lee Bontecou (b.1931)
Untitled, 1963
welded steel and paint
21 1/2" x 31 1/4" x 6 1/2", signed

Deborah Butterfield (b.1949)
Untitled (Small Horse), 1979
mud and stick construction
35" x 50" x 20", signed and dated

Barbara Chase-Riboud (b.1939)
Meta Mondrian, 1967
polished aluminum and silk
19 1/4" x 10 1/8" x 7"

Jay DeFeo (1929-1989)
Untitled (Aoni Ana), 1984
oil on canvas
51" x 78"

Claire Falkenstein (1908-1997)
Sun, c.1960
copper and enamel
38 1/2" x 45" x 52"

Gertrude Greene (1904-1956)
37X1, 1937
cut paper collage on paper
13 1/4" x 8 1/2", signed and dated

Gertrude Greene (1904-1956)
38-25, 1938
cut paper collage on paper
11" x 13 5/8", signed and dated

Nancy Grossman (b.1940)
P.M., 1968
leather, wood, paint, epoxy and hardware
16 1/2" x 6" x 8", signed and dated

Nancy Grossman (b.1940)
Mummy, 1965
metal, leather, fabric, wood, bristle and paint assemblage on canvas mounted on plywood
73 1/2" x 77 1/4" x 15 3/4", signed and dated

Grace Hartigan (1922-2008)
Trick or Treat, 1965
oil on canvas
72 1/4" x 60 1/8", signed and dated

Grace Hartigan (1922-2008)
Untitled, 1958
oil and paper collage on paper
28 1/2" x 22 1/2", signed and dated

Lee Krasner (1908-1984)
Untitled, 1965
gouache on paper
25" x 38", signed and dated

Yayoi Kusama (b.1929)
Hommage to Arthur Rimbaud, 1988
mixed media box construction including wood, fabric, mesh, silver spray paint, and synthetic netting
13" x 9 5/8" x 5 3/4", signed and dated

Lee Lozano (1930-1999)
Ram (Verb Series), 1964
oil on canvas
66" x 144", signed and dated

Alice Trumbull Mason (1904-1971)
Untitled, 1938
oil and sand on canvas
32 1/8" x 48 1/8"

Joan Mitchell (1925-1992)
Untitled, c.1967
oil on canvas
28 3/4" x 23 5/8", signed

Alice Neel (1900-1984)
Robert, Helen and Ed, c.1952
oil on canvas
32" x 28", signed

Louise Nevelson (1899-1988)
Untitled, c.1976
painted black wood construction
94" x 36" x 16 3/4"

Agnes Pelton (1881-1961)
Ascent (aka Liberation), 1946
oil on canvas
32" x 21"

Irene Rice Pereira (1907-1971)
Prise de Constantinople 1453, 1941
glass box construction with oil on glass, oil on panel and artist's original painted wood frame
19" x 13 1/2" x 2 1/8", signed and dated

Irene Rice Pereira (1907-1971)
Untitled, 1940
oil on canvas
30 1/8" x 24 1/8", signed and dated

Florence Miller Pierce (1918-2007)
First Form #2, 1944
oil on canvas
27 1/2" x 37 1/2" x 1" including artist’s original painted frame
26" x 36", signed and dated

Anne Ryan (1889-1954)
Untitled, 1952
fabric and paper collage on paper mounted on board
35" x 27", signed and dated

Betye Saar (b.1926)
The Astrologer's Window, 1966
assemblage with etchings, ink, and collage in vintage window
31 1/8" x 22 3/4" x 1 1/4", signed and dated

Kay Sage (1898-1963)
The Fourteen Daggers, 1942
oil on canvas
16" x 13 1/8", signed and dated

Janet Sobel (1894-1968)
Untitled, c.1946
oil and enamel on board
16" x 11 3/4"

Nancy Spero (1927-2009)
Untitled, 1984
acrylic handprinting and collage on paper (diptych)
20 1/2”  x 56” and 20 1/4”  x 56 1/2”
signed and dated

Dorothea Tanning (1910-2012)
Kenningar, 1961
oil on canvas
32" x 39 1/2", signed and dated

Lenore Tawney (1907-2007)
Untitled, c.1960
linen, feathers, twigs and wire
105" x 8" x 3 1/2", signed

Alma Thomas (1891-1978)
Oriental Sunset, 1973
acrylic on canvas
72" x 52 1/8", signed and dated

Charmion von Wiegand (1896-1983)
The Citadel, 1949-50
oil on linen
14 1/2" x 12 1/4", signed and dated

Claire Zeisler (1903-1991)
Hommage to Masae, 1969
red jute
36 1/2" x 43" x 42"



Artists


Press


Press Release

(New York—June 22, 2017) Michael Rosenfeld Gallery proudly presents The Time Is Now, a group exhibition featuring thirty-two artists whose work the gallery has consistently championed for three decades through thematic group exhibitions as well as multiple solo shows.

The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women’s Liberation Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstraction currently on view at the Museum of Modern Art (MoMA, New York). The Time Is Now features artists who represent a variety of positions on the spectrum from figural representation to abstraction, including: Magdalena Abakanowicz, Ruth Asawa, Hannelore Baron, Mary Bauermeister, Lee Bontecou, Deborah Butterfield, Barbara Chase-Riboud, Elaine de Kooning, Jay DeFeo, Claire Falkenstein, Gertrude Greene, Nancy Grossman, Grace Hartigan, Lee Krasner, Yayoi Kusama, Lee Lozano, Alice Trumbull Mason, Joan Mitchell, Alice Neel, Louise Nevelson, Agnes Pelton, Florence Miller Pierce, Irene Rice Pereira, Anne Ryan, Betye Saar, Kaye Sage, Janet Sobel, Nancy Spero, Dorothea Tanning, Lenore Tawney, Alma Thomas, Charmion von Wiegand, and Claire Zeisler.

Covering a period from 1937—Gertrude Greene’s collage (37X1)—to 1984—with works by Jay DeFeo (Untitled (Aoni/Ana)) and Nancy Spero (Untitled)—the exhibition reveals a rich diversity that implicitly challenges the singularity suggested by the notion of “women’s art.” Kay Sage’s hauntingly still The Fourteen Daggers (1942) shares an exhibition space with Lee Lozano’s dynamic Ram, a large-scale diptych from the artist’s Verb Paintings series. Both works are characterized by a photographic precision of line, which evokes surreal theatricality in the former and an almost hyper-real, cinematic close up in the latter. The Fourteen Daggers was included in the landmark 1942 First Papers of Surrealism exhibition, organized by André Breton and Marcel Duchamp; the largest surrealist exhibition ever held in the United States at the time, First Papers of Surrealism hailed the arrival of surrealist artists who had fled Europe for the United States at the outbreak of World War II, including Sage. Executed between 1964 and 1967, Lozano’s Verb Paintings feature hard-edged, abstracted extreme close ups of tools and machinery. While their emphasis on the ordinary may evoke her pop art contemporaries, Lozano’s Verb paintings emphasize the processes of creative and destructive work.

 

Additional highlights include the floating dynamism of Claire Falkenstein’s copper-and-enamel Sun (c. 1960) and The Albino (aka All That Rises Must Converge/Black), a monumental 1972 sculpture of black bronze, silk, wool, linen, and synthetic fibers by Barbara Chase-Riboud. In addition to being based on Chase-Riboud’s poem of the same name, The Albino emerged from the artist’s experimentation with the three-dimensionality of sculpture. Presented in its horizontal, open form, the sculpture is known as The Albino and is characterized by two impressive wings that spread out from a centralizing body that rests on the floor. In its closed, vertical incarnation, the sculpture forms a tall, totemic pillar and is known as All That Rises Must Converge/Black. Treated as two different sculptures by the art historian Peter Selz, The Albino (aka All That Rises Must Converge/Black) resists a singular reading and instead, opens itself up, quite literally, to multiple readings. Like Chase-Riboud’s work, Falkenstein’s “linear drawing in space”—as she called her wire constructions—incorporates exhibition space as a sculptural medium. As Maren Henderson has written, “In Sun, slender rods are configured in loops projecting in every direction but secured by skeins of copper wire. The result is a lattice network of baffling complexity. … the lattice structure is the medium, providing an envelope for space, light, and in this case the color red – provided by a red object tucked well into the interior.”

Since its inception in 1989, Michael Rosenfeld Gallery has been deeply committed to presenting the full story of American art, showcasing all who were active and contributing to the canon of American Art. For nearly three decades, the Gallery has sought to exhibit the work of celebrated artists alongside those whose works were eclipsed by the familiar historical narrative that focused almost exclusively on American art’s European (patri)lineage. The Gallery’s exhibitions have played a significant role in highlighting the achievements of artists historically marginalized in the mainstream art world due to both active and passive discrimination on the basis of race and gender.

Michael Rosenfeld Gallery is the exclusive representative of Hannelore Baron, Barbara Chase-Riboud, Claire Falkenstein, Nancy Grossman, and Charmion von Wiegand.  Of the artists included in The Time Is Now, the Gallery has presented multiple solo exhibitions for Chase-Riboud, DeFeo, Falkenstein, Grossman, Rice Pereira, Ryan, Saar, Tawney, Thomas, and von Wiegand.

Michael Rosenfeld Gallery is located in Chelsea, at 100 Eleventh Avenue, New York, NY, 10011. Summer gallery hours are Monday–Friday, 10:00AM–6:00PM.  For visuals and additional information, please contact Marjorie Van Cura at (212) 247-0082 or mv@michaelrosenfeldart.com.

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