#Louise Fishman

[that-butch-archivist]

"Louise Fishman," photographed by Betsy Crowell

source: The Wild Good: Lesbian Photographs & Writings on Love, edited by Beatrix Gates

[oldsardens]

Louise Fishman - Sipapu

[casualist-tendency]

Louise Fishman (American, 1939–2021), Angle of Repose, 1997, 76.2 x 58.4 cm

[lesbianlenses]

Louise Fishman, “Angry Radclyffe Hall” (1973), Acrylic on paper, 24 x 40 inches

[mentaltimetraveller]

louise fishman coda di rospo . 2017

[rxpapi]

Louise Fishman

Rocks and Ruins, 2005. Oil on linen. 60 x 70 in.

[villasugandhala]

Louise Fishman (American, 1939-2021), Iron Sharpens Iron, 1993

oil on linen

[pwlanier]

Louise Fishman (American, 1939-2021)

Sipapu

Signed, titled and dated 1991 verso, oil on linen.

Freeman’s

[artbookdap]

Worth reposting. Thanks @theconcernnewsstand ・・・Now available on the web store (link in bio): An expanded edition of NY artist Amy Sillman's collection of writings & drawings, with the addition of new essays, including recent texts on Paul Cézanne, Carolee Schneemann, Elizabeth Murray & Louise Fishman. Faux Pas aims at revealing the coherence & originality of Sillman’s reflection, as she addresses the possibilities of art today, favoring excess over good taste, wrestling over dandyism, forms over symbols, with as much critical sense as humor. . . #amysillman #fauxpas #writings #essay #drawings #cezanne #caroleeschneemann #elizabethmurray #louisefishman #lynnetillman @after.8.books https://www.instagram.com/p/CpkqSPeuT3I/?igshid=NGJjMDIxMWI=

[isabellarosestudio5]

Artist Research: Hannah Wilke

"Wilke used the various mediums of photography, performance, sculpture, and video to examine and challenge prevailing notions of femininity, feminism, and sexuality. She was one of the first artists to use vaginal imagery in her work with the purpose of directly engaging with feminist issues. During the late 1950s through the early 1970s, Wilke worked on creating a type of female iconography based on the body, constructing abstract, organic forms that closely resembled female genitalia. She displayed these forms on the floor or wall in a highly organized and repetitious manner that recalled Minimalism. During the 1970s, she began to use her own body for performance pieces that she called her "performalist self-portraits." These performances, immortalized on video or in photographs, confront erotic stereotypes by calling attention to and making ironic the conventional gestures, poses, and attributes of the female body."

https://www.guggenheim.org/artwork/artist/hannah-wilke

"Wilke first performed S.O.S.—Starification Object Series for the public in 1975. Visitors were given colored gum, which they were asked to chew and then return to the artist, who, topless, stretched and folded the pliable wads into small, labia-shaped sculptures and stuck them to her skin. These handwrought anatomical forms have been read as both sensual fetishes and unsightly scars emblematic of the power, and also the stigma, of the female sex. Interested in how these transitory actions could outlive the moment, Wilke posed for photographs for the S.O.S. series, making what she called “performalist self-portraits.”"

https://www.moma.org/collection/works/102432

"'Who has the guts to deal with cunts?' asked sculptor Hannah Wilke in 1973"

"Wilke wanted to shock a complacent society that she perceived was ruled by prejudice and fear and transform its negative attitudes towards sexuality, particularly women's sexuality"

"They related female body imagery to concerns that were debated within the contemporary Women's Liberation Movement: the representation of women's bodies, the nature of feminine sexuality, and the existence of a universal feminine sensibility. There is a trajectory in these critical perspectives that parallels a move in radical feminist concerns from forthright exploration of women's sexuality, including lesbianism, to theorization of an inherent and unified feminine sensibility that assumes heterosexuality." :(

Thompson, M. H. (2006). Agreeable objects and angry paintings: "female imagery" in art by Hannah Wilke and Louise Fishman, 1970-1973. Genders, (43), NA. https://link.gale.com/apps/doc/A179660933/AONE?u=qut&sid=googleScholar&xid=d7d4632a

Curators perspective on Homage to a Large Red Lipstick, as fallen into disrepair during museum storage:

"A “cure” for Wilke’s Homage to a Large Red Lipstick , given the extent of its deterioration, seems highly unlikely. In the meantime, it sits in the basement, visible to no one, gathering proverbial dust, while— to add insult to injury— Oldenburg’s works, of which the museum owns more than sixty, are regularly exhibited and used in teaching. Dissatisfied with leaving Homage in obscurity after I had seen it for myself, I wondered whether Wilke’s practice might have allowed for entropy, change, decay, and even death in the case of her sculptural works— whether, in other words, some aspect of her work might justify exhibiting Homage as it is. Wilke, who died from lymphoma in 1993, cannot be consulted, as standard curatorial practice today would demand, nor do we have evidence that she considered this particular proposition while she was still alive."

"Wilke created each petal for her sculptures by using a cup to pour a thin layer of tinted liquid latex, which she likened to “pancake batter,” onto a custom-made seventeen-foot plaster of Paris board on the floor of her studio."

Hölling, H. B. (Ed.). (2022). Object--event-- performance : Art, materiality, and continuity since the 1960s. Bard Graduate Center, Exhibitions Department. https://ebookcentral.proquest.com/lib/qut/reader.action?docID=7207363&ppg=99

REFLECTION- could a work be made in collaboration with actual pancake batter? a photographic/portraiture series perhaps? Or other food items, icing, bread, mouldy food, lollies? Back to my earlier work references women as consumerist objects, pig meat, etc.

Wilkes latex work reminds me of folded crepes. Perhaps red, mouldy crepes folded in various bodily forms would be interesting?

[theoriesanddocuments]

Louise Fishman (American 1939-2021). Fishman's distinctive surfaces are smeared, scraped, and washed out. Drips also play a subtle but important role in the three works seen here.

9/11 Redux 2013. Oil on linen, 70 x 88 inches.

Too Much, Too Much, 2020, oil and flashe on linen, 66 × 57 inches.

Skagerrak, 2020, oil on linen, 40 × 30 inches.

[webionaire]

Respected New York contemporary art gallery Cheim & Read is ceasing operations for good following the December 23 close of its current exhibition, a solo show of the work of Kathe Burkhart. The Chelsea gallery founded by dealers John Cheim and Howard Read has been in business since 1997, when it launched with an exhibition of work by Louise Bourgeois and Jenny Holzer; in the twenty-six years following, it gained a reputation for elevating the work of women. Cheim & Read’s longtime director and partner Maria Bueno is set to open her own gallery next year, called Bueno & Co. Besides the art stars she’s inheriting from Cheim & Read—among them Jean-Michel Basquiat, Louise Bourgeois, Joan Mitchell, Alice Neel, and Sean Scully—she will represent heavy hitters including Lynda Benglis, William Eggleston, Louise Fishman, Ron Gorchov, Pat Steir, and Matthew Wong.

[oldsardens]

Louise Fishman - Salty Dog

[casualist-tendency]

Louise Fishman (American, 1939–2021), Friend and Dear Friend, 2005, 81.3 x 61 cm

[polymorphousculturevulture]

Louise Fishman - Untitled, 1962

source: theoriesanddocuments

[skowhegan]

Bill Jensen (F '83, '86, '88), Louise Fishman (F '12), Lynda Benglis (F '78, '79, '99), Milton Resnick (F '81, '77)

Summer Hours Cheim & Read 23 East 67 Street, New York, NY

June 21 – September 23