Not exact matches
Held's Alphabet paintings from the early 1960s — large, flatly painted hard - edge
abstractions based on letter forms — preceded Schapiro's Ox series by a few years, and his
black - and - white series are from 1967 — 69.
In the 1950s she tries
abstraction, first with
black curves like those of early Al
Held, then with wide - open color fields out of Helen Frankenthaler.
A departure from
Held's more recognizably hard - edged, overlapping geometric
abstractions, these are spare works consisting of one or two brushstrokes of
black ink on waxed paper.
To my eye, the painting speaks to the central core imagery that was being developed by feminist artists such as Judy Chicago, though Fishman attributes it more directly a response to Al
Held's
black - and - white
abstractions of 1967 — 69.