The First Art Newspaper on the Net   Established in 1996 United States Friday, August 23, 2019

Exhibition draws together sixteen paintings created by Elizabeth Murray in the 1980s
Elizabeth Murray, Picture-Crack Up, 1985. Oil on canvas, 9' x 10' 6" x 10-1/2" (274.3 cm x 320 cm x 26.7 cm). Photography by Kerry Ryan McFate, courtesy Pace Gallery © 2017 The Murray-Holman Family Trust / Artists Rights Society (ARS), New York.

NEW YORK, NY.- Pace Gallery is presenting its ninth exhibition since 1996 devoted to the work of Elizabeth Murray. The exhibition draws together sixteen paintings created by the artist in the 1980s, including loans from the Colby College Museum of Art, The Museum of Modern Art, the Philadelphia Museum of Art, and the Whitney Museum of American Art. Continuing where Pace Gallery’s 2011 exhibition Elizabeth Murray: Painting in the ‘70s left off, Elizabeth Murray: Painting in the ‘80s explores another critical decade in the artist’s career, the decade during which Murray began painting her iconic shaped canvases. The exhibition is on view from November 2, 2017 to January 13, 2018 at 510 West 25th Street.

Elizabeth Murray: Painting in the ‘80s presents formal and narrative content that continues to influence the techniques and subject matter of contemporary painting. Murray arrived in New York in 1967 during the heyday of Minimalism and the rise of Conceptualism, and amid prevailing assertions of painting’s demise. As she recollected, “The mood was that painting was out, that hip people, people who were avant, weren’t involved in painting. That was unnerving, but then I didn’t give a damn.” Fully committed to painting, Murray broke new ground depicting personal, poetic and at times feminist narratives on complex multidimensional shaped canvases. Murray’s compositions from the 1980s suggest large-scale breaking cups, tumbling wineglasses, tilting tables, windows, rooms, attenuated human forms, letters, symbols and abstract shapes constructed through positive and negative, real and imagined space. As Roberta Smith has written, “She has put the vocabulary of twentieth-century abstraction to new and different uses, tracing in irresistible formal terms a psychological narrative that is not explicitly feminine but that women, thanks to society’s relentless conditioning, know best and most completely.”

In her paintings of the ‘80s, Murray balances seemingly opposing forces—combining geometric and biomorphic shapes, hard edges and feathery brushstrokes, imagery and abstraction and oil paint and three-dimensional structure. These combinations give the paintings a sense of movement and a dynamic ambiguity. The works do not prescribe a certain reading: Murray wanted viewers to see what they saw, it was okay if they didn't see images or if they saw something different than the imagery she intended. As she said, “The way it looks is just the way it looks in the end.”

As the decade closed, and Murray’s paintings became more and more three-dimensional, she was adamant that they remained paintings. “I always thought they were paintings. I wasn’t thinking of sculpture; I wasn’t even thinking of relief, to tell you the truth. I was always thinking of painting.” Leaving her brush strokes visible, the edges of her canvases raw and allowing paint to drip down the sides of her works while showing glimpses of underpainting, Murray emphasized her paintings as hand-built and hand-painted, reminding the viewer of the physicality of her process and the importance of the formal aspects of painting.

Pace published a catalogue to accompany the exhibition that includes an essay by art historian and curator Dr. Kellie Jones, Associate Professor in Art History and Archaeology at the Institute for Research in African American Studies at Columbia University. Both MacArthur Fellows, Murray in 1999 and Jones in 2016, Jones met Murray as a child and remained friends with the artist throughout her life.

Elizabeth Murray's (b.1940, Chicago; d. 2007, Washington County, New York) work blurs the distinction between abstraction and representation, and her shaped canvases and multipart supports challenge traditional conventions of painting. She transformed modernist abstraction by redefining the sculptural dimensions of the medium and exploring layered planes of canvas. Using bold colors and biomorphic forms, figures, and everyday objects, Murray introduced a dynamic sense of movement to her imagery. Murray earned a BFA from the Art Institute of Chicago (1962) and an MFA from Mills College in Oakland (1964). Her work is held in over sixty public collections in the United States, and has been the subject of over eighty solo exhibitions worldwide, including exhibitions organized by institutions such as the San Francisco Museum of Modern Art (1988) and the Wexner Center for the Arts, Columbus, Ohio (1991–92), among many others. Her first retrospective, Paintings and Drawings, jointly organized by the Dallas Museum of Art, the Albert and Vera List Visual Arts Center, MIT, Cambridge, and Museum of Fine Arts, Boston, opened in 1987, and traveled to The Museum of Contemporary Art, Los Angeles; Des Moines Art Center; and the Walker Art Center, Minneapolis, closing at the Whitney Museum of American Art, New York, in 1988. In 2005, The Museum of Modern Art, New York, organized a second retrospective that traveled to Institut Valencià d’Art Modern in Spain. In 2007, her work was included in the 52nd Biennale di Venezia, Think with the Senses, Feel with the Mind: Art in the Present Tense.

Murray was the recipient of numerous academic and institutional honors, including an award from the American Academy of Arts and Letters, New York (1984), to which she was elected as a member in 1992. She was awarded the Skowhegan Medal for Painting, New York (1986), and was named a MacArthur Fellow by the John D. and Catherine T. MacArthur Foundation (1999).

Today's News

November 5, 2017

Rafael Soriano opens at Frost Art Museum FIU: Kicks off Miami's Art Basel season

Harvard Art Museums to receive transformative gift of Dutch, Flemish, and Netherlandish drawings

Galerie Templon reveals a previously unseen series of paintings by Jim Dine

The largest collection of Viking artifacts on display in North America comes to the Royal Ontario Museum

Matthew Marks opens exhibition featuring thirteen recent paintings by Gary Hume

First major exhibition of Korean fashion in U.S. opens in San Francisco

Gavin Brown's enterprise opens 5th solo exhibition by the painter Alex Katz

Museum-wide exhibition examines practice and role of drawing in late Edo - early Meiji Japan

Exhibition of new drawings by Paul Noble opens at Gagosian San Francisco

Exhibition draws together sixteen paintings created by Elizabeth Murray in the 1980s

Survey exhibition tracing the developments of post-war British sculpture from 1951-1991 on view in London

Milestone's auction features finest comic character toy collection to reach the marketplace in many years

First comprehensive retrospective of Mark Tobey's work in 20 years opens at the Addison Gallery

Exhibition at the Saint Louis Art Museum highlights a major new body of work by Thomas Struth

Landmark Hassan Sharif retrospective presented by Sharjah Art Foundation

Live online sale offers paintings, works on paper, photographs & sculpture from the 18th to 21st centuries

"The Time. The Place" focuses on acquisitions to the Henry's contemporary collection

Exhibition presents sculptural work spanning three decades by Swiss-born artist Françoise Grossen

New site-specific installation by Canadian artist Megan Rooney on view at Tramway

Perrotin New York opens an exhibition of works by Farhad Moshiri

Luhring Augustine exhibits a multi-part video and sculptural installation by Mike Kelley

Bouke de Vries puts the finishing touches to his epic, 8-metre ceramic sculpture 'War and Pieces'

Honor Fraser's first exhibition of paintings by pioneer Feminist artist Miriam Schapiro opens in Los Angeles

Option to the Death of Freedom: Casemore Kirkeby opens group exhibition

Most Popular Last Seven Days

1.- Conservation reveals Wellington Collection work was painted by Titian's Workshop

2.- New dinosaur discovered after lying misidentified in university's vaults for over 30 years

3.- Unseen Texas Chainsaw Massacre outtakes and stills sold for a combined $26,880

4.- National gallery reveals conserved Italian altarpiece by Giovanni Martini da Udine

5.- London's Tate Modern evacuated after child falls, teen arrested

6.- Bavarian State Minister of the Arts restitutes nine works of art

7.- Boy thrown from London's Tate Modern is French tourist visiting UK

8.- Child thrown from London gallery has broken spine, legs and arm

9.- £10 million Turner masterpiece may leave British shores

10.- Tourists banned from sitting on Rome's Spanish Steps

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful