new-york

Charlotte Park, #25, 1951, oil on canvas, 37 x 46".

Charlotte Park

Spanierman Gallery

Charlotte Park, #25, 1951, oil on canvas, 37 x 46".

It is no secret that the Abstract Expressionists objectified and marginalized women. But as those decades recede ever further back (and the mighty male figures only grow more firmly ensconced in the canon), the AbEx pantheon has expanded to include major female painters such as Joan Mitchell and Lee Krasner. And, at this shifting frontier, newer figures (not new, of course, to the history of Abstract Expressionism but to canonic admiration) now command attention—painters of enormous merit who, perforce, were ground down by the era’s insistent denigration of women or whose admirable achievements were compromised by the demands of their husbands’ careers (even as those careers may still be up for grabs in the larger play of historical recontextualization). The case of Charlotte Park is exemplary; hers was a major gift all but stifled by a happily embraced domesticity and by

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