“Born in California in 1940, Mary Heilmann studied ceramics, literature, poetry and sculpture in San Francisco, Santa Barbara, and Berkeley, before moving to New York in 1968. While in New York, she took up painting, experimenting with bright colours, drips and unorthodox geometries – a move which was particularly radical due to the fact the medium had been declared ‘dead’ and the majority of her artistic contemporaries were performance artists or sculptors. Nonetheless, she began exhibiting at Holly Solomon Gallery in the mid-1970s and then showed regularly at Pat Hearn Gallery in the 1980s and 1990s – Hearn and Solomon both being female art dealers whose navigation of the cut-throat New York gallery climate has been legendary”
More at AnOther.
An interview with Jeremy Gorovoy by Rebecca Fulleylove (It’s Nice That).
Marissa Grunes (The Paris Review) discusses her mother’s memorization of Stevens’ ‘Sunday Morning’
When “Sunday Morning” was first published in the November 1915 issue of Poetry, just over a hundred years ago, Wallace Stevens was thirty-six; the poem was one of his first major publications. He’d recently moved to the Hartford Accident and Indemnity Company, where he would spend the rest of his life insuring people against the hazards of sudden change. His professional and poetic lives converged on that fact: everything changes.
A spiritual meditation for a secular era, “Sunday Morning” glows with the ripe colors of late summer and early autumn, brief arc segments of the seasonal cycle whose rhythms Stevens celebrates. (more…)
Hannah Ellis-Petersen (The Guardian) discusses a new exhibition that challenges traditional interpretations
There are few artists in history whose work is consistently reduced to the single question: flowers or vaginas?
But a new Tate Modern retrospective of Georgia O’Keeffe, a giant of American 20th-century modernism, is to challenge the “conservative male” – and widely accepted – assumptions that her famous flowers paintings are depictions of female genitalia.
The show, which opens in July, will be the UK’s largest ever exhibition of O’Keeffe’s work and will be Tate Modern’s first show since its £26m revamp. Featuring more than 100 works, which have rarely left America since her death in 1986, it will display her 1932 Jimson Weed painting, which in 2014 became the most expensive painting sold at auction by a female artist when it was bought for $44.4m. (more…)
Ryan Steadman (Observer Culture) on a new retrospective at Denver Art Museum
Under-recognized female artists throughout history are slowly but surely starting to get the attention they deserve. First there was a look at the women of the Surrealist movement at Sotheby’s last summer, and now a show that’s being dubbed the “first museum exhibition dedicated to the women of Abstract Expressionism” is set to open at the Denver Art Museum in June.
Known as a chronicler of 20th Century life in America and beyond, the photographer reflects on how he approaches his art
“We can write the new chapters in a visual language whose prose and poetry will need no translation.”
— Ernst Haas
The New York Times posts an online gallery
From Arthur Lubow (The New York Times):
Her own residence, though, is the chief attraction. More than five years after her death, the house still feels inhabited by the woman who called it home. Dresses and coats hang in the closet. Magazines and diaries fill the bookshelves, which display the breadth of Bourgeois’s interests, including the “Joy of Cooking,” the Bhagavad Gita and J.D. Salinger’s “Nine Stories.” (more…)