new-york

Louise Fishman, Blonde Ambition, 1995, oil on linen, 90 x 65".

Louise Fishman

Cheim & Read

Louise Fishman, Blonde Ambition, 1995, oil on linen, 90 x 65".

The 1973 work that greeted visitors to Tilton Gallery’s miniretrospective of Louise Fishman’s paintings declares its maker as someone with an ax to grind: The phrase ANGRY LOUISE is scrawled graffiti style across the surface, framed by athletic strokes of crimson and teal and the words SERIOUS and RAGE. Then part of a New York–based feminist consciousness-raising collective, she was lamenting the critical and institutional sidelining of women artists; other works in the same 1973 series honor Jenny Snider (Angry Jenny) and Yvonne Rainer (Angry Yvonne). Fishman felt the blackballing acutely, working as she did within the masculinist idiom of Abstract Expressionism, whose second wave was under way by the time she started art school. Late to a fair to which she would not have been invited anyway, she has persevered—to striking consequence—with nervy, muscular gestural

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