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Beyond form : lines of abstraction, 1950-1970 / curated by Dr. Flavia Frigeri.

By: Contributor(s): Publication details: [Bath} : Eiderdown Books, 2024Description: 136 pages : illustrations ; 24 cmISBN:
  • 9781916515017
Subject(s):
Contents:
Artists include: Carla Accardi, Novera Ahmed, Anthea Alley, Ruth Asawa, Ida Barbarigo, Maria Bartuszová, Lynda Benglis, Margaret Benyon, Anne-Eva Bergman, Sandra Blow, Lee Bontecou, Louise Bourgeois, Rosemary Castoro, Jocelyn Chewett, Maria Theresa Chojnacka, Saloua Raouda Choucair, Dadamaino, Dorothy Dehner, Claire Falkenstein, Habuba Farah, María Freire, Elisabeth Frink, Sue Fuller, Barbara Hepworth, Carmen Herrera, Eva Hesse, Sheila Hicks, Ilona Keserü, Judith Lauand, Bice Lazzari, Felícia Leirner, Kim Lim, Agnes Martin, Mary Martin, Marisa Merz, Nasreen Mohamedi, Yuko Nasaka, Louise Nevelson, Ewa Pachucka, Marta Pan, Howardena Pindell, Pilloo Pochkhanawala, Bridget Riley, Faith Ringgold, Meg Rutherford, Ana Sacerdote, Behjat Sadr, Mona Saudi, Nelly Sethner, Arpita Singh, Loló Soldevilla, Jean Spencer, Hedda Sterne, Lenore Tawney, Paule Vézelay, Daniela Vinopalová, Hannah Wilke, Gillian Wise.
Summary: A group exhibition presenting abstraction as a radical global language shared by women artists in the twenty years following World War II. The exhibition brings together the works of more than 50 artists to examine how, through abstract forms, materials and modes, women pushed the boundaries of artmaking while tackling seismic cultural, social and political shifts. Comprising over 80 artworks, predominantly sculpture, the exhibition traces how the language of abstraction developed on a global scale. Including sculptures by Mária Bartuszová, Louise Bourgeois, Eva Hesse and Hannah Wilke; and highlighting Marisa Merz’s Living Sculpture (1966), a piece realised within the intimate confines of a domestic space before the artist had a studio. It also explores Carla Accardi and Marta Pan’s innovative use of modern materials to redefine space and perception. The fibre art of Maria Teresa Chojnacka and Ewa Pachucka are also featured, symbolising resistance and liberation from state censorship or monitoring. Complementing the sculptural focus of the exhibition are select paintings and reliefs, such as Carmen Herrera’s East (1965) and Agnes Martin’s Morning (1965), enriching the understanding of this artistic period.
Holdings
Item type Current library Collection Call number Status Date due Barcode
Book Book CGLAS Library Pink 735.230452 FRI (Browse shelf(Opens below)) Available 12831

Published on the occasion of the exhibition held at Turner Contemporary, Margate, 3 February - 6 May 2024.

Artists include: Carla Accardi, Novera Ahmed, Anthea Alley, Ruth Asawa, Ida Barbarigo, Maria Bartuszová, Lynda Benglis, Margaret Benyon, Anne-Eva Bergman, Sandra Blow, Lee Bontecou, Louise Bourgeois, Rosemary Castoro, Jocelyn Chewett, Maria Theresa Chojnacka, Saloua Raouda Choucair, Dadamaino, Dorothy Dehner, Claire Falkenstein, Habuba Farah, María Freire, Elisabeth Frink, Sue Fuller, Barbara Hepworth, Carmen Herrera, Eva Hesse, Sheila Hicks, Ilona Keserü, Judith Lauand, Bice Lazzari, Felícia Leirner, Kim Lim, Agnes Martin, Mary Martin, Marisa Merz, Nasreen Mohamedi, Yuko Nasaka, Louise Nevelson, Ewa Pachucka, Marta Pan, Howardena Pindell, Pilloo Pochkhanawala, Bridget Riley, Faith Ringgold, Meg Rutherford, Ana Sacerdote, Behjat Sadr, Mona Saudi, Nelly Sethner, Arpita Singh, Loló Soldevilla, Jean Spencer, Hedda Sterne, Lenore Tawney, Paule Vézelay, Daniela Vinopalová, Hannah Wilke, Gillian Wise.

A group exhibition presenting abstraction as a radical global language shared by women artists in the twenty years following World War II. The exhibition brings together the works of more than 50 artists to examine how, through abstract forms, materials and modes, women pushed the boundaries of artmaking while tackling seismic cultural, social and political shifts. Comprising over 80 artworks, predominantly sculpture, the exhibition traces how the language of abstraction developed on a global scale. Including sculptures by Mária Bartuszová, Louise Bourgeois, Eva Hesse and Hannah Wilke; and highlighting Marisa Merz’s Living Sculpture (1966), a piece realised within the intimate confines of a domestic space before the artist had a studio. It also explores Carla Accardi and Marta Pan’s innovative use of modern materials to redefine space and perception. The fibre art of Maria Teresa Chojnacka and Ewa Pachucka are also featured, symbolising resistance and liberation from state censorship or monitoring. Complementing the sculptural focus of the exhibition are select paintings and reliefs, such as Carmen Herrera’s East (1965) and Agnes Martin’s Morning (1965), enriching the understanding of this artistic period.