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Art in the WestFemale Artists

Lee Krasner exhibition debuts in Long Beach

By Chadd ScottPosted on February 4, 20230 Comments
Lee Krasner (1908–1984), Number2, 1951. Oil on canvas. 92 1/2 in ×132 in
Lee Krasner (1908–1984), Number2, 1951. Oil on canvas. 92 1/2 in ×132 in (235cm×335.3cm) CR252. Courtesy of Kasmin Gallery and The Pollock-Krasner Foundation. Copyright: 2022 The Pollock-Krasner Foundation/Artist Rights Society (ARS), New York.

Carolyn Campagna Kleefeld Contemporary Art Museum presents “Lee Krasner: A Through Line” from February 7 through May 19, 2023. The exhibition provides a context to explore important abstract paintings and collages from the 1940s to the early 1960s. The Lee Krasner exhibition includes four of the five Krasner works held in the Museum’s Gordon F. Hampton Collection and rarely exhibited works on loan. “A Through Line” specifically highlights breakthrough moments in her career spurred on by her practice of revisiting ideas over time.

“A Through Line” begins with an exploration of Krasner’s early interest in cubism and her desire to develop purely abstract painting that appears dimensional without the illusory techniques of representational painting. Influenced by Pablo Picasso, Henri Matisse, and Hans Hofmann, her work in the 1930s and 1940s set the stage for her transformation in the 1950s and 1960s.

Museum visitors are invited to study Krasner’s untitled work from 1942 hanging alongside Pablo Picasso’s 1926 print, Scène d’intérieur, and Hans Hofmann’s painting, Pure Space (1952), which has not been exhibited since its creation. These three works illustrate shared interests in exploring depth of field, linework, and different modes of geometric and gestural abstraction. Pure Space offers visitors to the Lee Krasner exhibition an opportunity to better understand how Hans Hofmann theory of “push and pull” was translated into paint.

From Krasner’s early cubist painting, visitors continue toward the center of “A Through Line.” Her poorly received 1951 exhibition at Betty Parsons Gallery is a main event in her career after which she hit a sustained stride that would cement her reputation. The Museum is pleased to present one of two paintings which survive from this Parsons exhibition. On loan from Kasmin Gallery New York, the breathtaking Number 2 (1951) will be on view for the third time in its history and, seventy- one years later, only the second time in the United States ever. Number 2 survived destruction by Krasner. She used most of the paintings from Parsons for collage scrap or underpaintings for later works presented in 1955.

Following her adventure with Betty Parsons, it appears that Krasner did not work for at least a year. In 1953 she began anew. On loan from Des Moines Art Center, Black and White (1953) is a collage incorporating scraps from her own work and from works by her husband Jackson Pollock. The collage illustrates a key step toward new works the artist debuted in a 1955 exhibition at the Stable Gallery. This Lee Krasner exhibition is now recognized as historic highlight not only for Krasner, but for American abstract painting. The result of Krasner’s creative reuse was later described as “one of the great events of the decade” by art critic Clement Greenberg.

On view from this exhibition is an iconic work from the Museum’s collection, Stretched Yellow (1955), which is painted atop a 1951 painting exhibited at Parsons. This is critical to understanding how Krasner’s early work leads up to 1955 and to what happens after. Experiencing both works in the same gallery clarifies how Krasner’s cycles of revision helped drive her progress toward creating spatially complex gestural abstractions.

While the Lee Krasner exhibition unfolds chronologically, the works defy linear models of time. Later works on view, including Cornucopia (1958) and What Beast Must I Adore? (1961) illustrate how Krasner continued to revisit gesture, illusory depth, and line and shape in new ways while remaining grounded in an embrace of pure abstraction and a familiar creative language.

“A Through Line” demonstrates Krasner’s independent vision and stylistic hallmarks. The works included in this Lee Krasner exhibition prove she was not only resilient and dedicated, but also visionary. In illustrating a continuity Krasner’s critics sometimes denied she had, the Museum disputes critiques of Krasner that are often gender biased.

Today, Krasner is a revered artist whose importance to the history of art is finally garnering deserved recognition. With “A Through Line,” we recognize that Lee Krasner helped shape the course of art history and assert that she will continue to inspire the next generation.

Female artistLee Krasner

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A CLASSIC Julian Onderdonk #texas #hillcountry #bl A CLASSIC Julian Onderdonk #texas #hillcountry #bluebonnets painting, “Near San Antonio” (1918) at @sama_art. I have long said my dream den has an Onderdonk #bluebonnet painting. A Texan, he nailed the “feel” as only someone passionate for and intimate with that landscape could.
Following the bluebonnet painting are others from Onderdonk including from his time in New York, which I knew nothing about.
#visitsanantonio
Claude Monet and Joan Mitchell face-to-face about Claude Monet and Joan Mitchell face-to-face about 15-feet apart at @mcnayart @visitsanantonio #visitsanantonio.
McNay is one of my favorite small museums in the US, wonderful Modern art collection with MAJOR figures like these and many, many others (Hopper, Rivera, van Gogh, Gauguin, Modigliani, etc).
#monet #claudemonet #joanmitchell #modernart #painting
Helen Frankenthaler’s ‘Eden Revisited’ (1967 Helen Frankenthaler’s ‘Eden Revisited’ (1967-1976) sure to brighten your day, it did mine on a recent visit to @sama_art @visitsanantonio. Stunning, vivid, massive (10-plus-feet tall), expressive… up close you can see the paint stains. 
I see so much drama in this painting, so much certainty, confidence. Of all the past artists I could have met, @helenfrankenthalerfoundation would be high on the list.
#helenfrankenthaler #colorfieldpainting #greatwomenartists #femaleartist #womenshistorymonth #yellow #orange #painting #modernart #visitsanantonio
3 showstoppers from @_wiggins_ at @briscoemuseum @ 3 showstoppers from @_wiggins_ at @briscoemuseum @visitsanantonio. Kim’s mark making and color are instantly recognizable and I DIG it! 
#visitsanantonio #westernart #westernartist #santafe #cowboy #purple
Harold Newton (left) and Alfred Hair side-by-side Harold Newton (left) and Alfred Hair side-by-side at @tampamuseumofart. To learn more about the original Florida Highwaymen artist, click the link in my bio.
#floridahighwaymen #haroldnewton #alfredhair #florida #floridalife #floridaartist #floridaart #floridaartists #blackartist #floridahistory
OVERWHELMED by this exhibition of #purvisyoung art OVERWHELMED by this exhibition of #purvisyoung artwork on view at @tampamuseumofart! 
What most caught my eye were all the 18-wheelers. Are these a reference to “urban renewal” and the siting of I-95 through the heart of Young’s #overtown #miami neighborhood. 
As occurred across America during 1950s-80s, so-called urban renewal was a tactic used by white politicians to destroy thriving Black communities by running interstates through them to aide white suburbanites in getting to jobs in town faster.
Young experienced Overtown on both sides of #urbanrenewal and I can’t help thinking all these trucks are commentary on I-95.
#miamilife #tampa #tampaflorida #artmuseum #blackart #blackartist #blackartmatters #selftaughtartist
I was writing about @ronjonofficial for my “My F I was writing about @ronjonofficial for my “My Favorite Florida” column on Rovology.com travel site this morning. My first visit was 86ish, my most recent visit came last month. 
#ronjonsurfshop #ronjon #cocoabeach #cocoabeachflorida #surfing #surflife #80s #80sfashion
“Florida Highwaymen: Dashboard Dreams” closes “Florida Highwaymen: Dashboard Dreams” closes at @aebackusmuseum 2/26. Best chance all year to see original Florida Highwaymen paintings. 
More info about Highwaymen check link in bio.
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