![]() ![]() ![]() ![]() Lastly, the Woodmere Art Museum in Philadelphia has organized “Generations: Louise Fishman, Gertrude Fisher-Fishman, and Razel Kapustin,” an exhibition that positions Fishman in the context of her mother and aunt, both accomplished painters in their own rights.īorn in Philadelphia in 1939, Fishman grew up in a family of artists and avid art lovers. “Louise Fishman: New Work” at Cheim & Read, New York, presents some of her most virtuosic paintings to date, inspired by a recent stay in Venice, Italy. The full range of Fishman’s interests is on view. At New York’s Tilton Gallery, “Louise Fishman: Five Decades” is a compact overview organized around the esthetic, personal and political touchstones of the artist’s work. This fall three diverse exhibitions offer an unprecedented opportunity to examine the progression of Fishman’s formal and material experimentation over her long career. This desire to explore the empirical through nonobjective painting is what makes Fishman an important forerunner of much of the painting we see today. In her work, the personal reveals itself incrementally through an ever-shifting abstract language invented to express the artist’s compound identity as a woman, lesbian and Jew. The result is an oeuvre that is resolutely idiosyncratic and canonical at the same time. At 73, she has spent more than 50 years pitching dynamic gestural painting up against the cool austerity of the grid. Intensely tactile and athletic, the paintings of Louise Fishman seem to have been born of this impulse. A legendary talker, Franz Kline is famous for saying that “painting is like hands stuck in a mattress.” Kline’s remark vividly conjures the image of a painter wrestling with the inert pigment in order to feel his image and bring it to life. ![]()
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