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View of “Painters Sculpting/Sculptors Painting,” 2017. Photo: Claire Iltis.

“Painters Sculpting/Sculptors Painting”

Fleisher/Ollman Gallery

View of “Painters Sculpting/Sculptors Painting,” 2017. Photo: Claire Iltis.

While critics frequently compare Dona Nelson to far more celebrated postwar painters, “Painters Sculpting/Sculptors Painting” instead placed her work in conversation with that of a diverse group of younger artists. Nadine Beauharnois, Matt Jacobs, and Marc Zajack, like Nelson, are based in the Philadelphia area and remain anchored to traditional forms of painting and sculpture as well as to evergreen dialogues between figuration and abstraction. Staking her claim as the exhibition’s linchpin and underscoring her importance to subsequent generations, two of Nelson’s freestanding large-scale double-sided paintings, String Turn, 2015, and Studio Portrait over Time, 2016, faced off in the center of the gallery with the heft of opposing sumo wrestlers. Mounted on a black metal armature, String Turn features poured, dripped, and brushed acrylic, in hues of purple, yellow, green, and

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