I write about the art I see in Santa Rosa and elsewhere in the Bay Area mostly because it helps me to digest what I’ve seen, because it gives me something to go back to when I want to remember what I saw, where I saw it, and when I saw it, and also because it allows me in some small way to help promote what seems good art to me that friends and others reading my comments might want to see, but rarely do I start from such a place of ignorance as the place from which I write here about the show on now at Modern Art West in Sonoma (521 Broadway, Sonoma, CA 95476, (707) 210-5275, by appointment only*). I had never heard of the place until last weekend when I stumbled upon a mention of Modern Art West on Hyperallergic. The gallery appears to have opened just before the pandemic hit and my visit on Monday (5 September) was the first time I’ve been to the town of Sonoma in about three years. Modern Art West sprang up during that absence. The gallery is owned and operated by Mr. David Keaton.
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| Untitled (1949), Zoe Longfield |
Not only was I ignorant of Modern Art West. I speak also of my ignorance about women artists identified with Abstract Expressionism—the theme of the show now up, entitled
The Long View: California Women of Abstract Expressionism 1945-1965. If asked about female Abstract Expressionist painters, I could have come up with Lee Krasner, Jay DeFeo, and Helen Frankenthaler (although Frankenthaler does not appear to have considered herself an Abstract Expressionist), and Joan Mitchell. The Long View, however, features work by 25 less prominent Abstract Expressionist painters active on the West Coast between the end of WWII and 1965. Only one name was familiar, and that (Adelie Landis Bischoff) is because, as the wife of painter Elmer Bischoff, she is talked about more than other female painters of the period. For the record, artists included in the Modern Art West show are: Ruth Armer, Katherine Barieau, Emarie Bartelme, Bernice Bing, Pamela Boden, Dorr Bothwell, Joan Brown, Sonia Gechtoff, Nancy Genn, Leah Rinne Hamilton, Marie Johnson, Adelie Landis (Bischoff), Hilda Levey, Zoe Longfield, Emiko Nakano, Irene Pattinson, Margaret Peterson, Deborah Remington, Joyce Rezendes, Nell Sinton, Frann Spencer, Juliette Steele, Lenore Vogt, Ruth Wall, and Katherine Westphal. I reproduce this list because, judging from the work I saw on Monday, every one of these painters deserves to be better known.
I freely admit that my ignorance doesn’t mean everyone else is equally ignorant, but I’d be willing to bet most of these names are, in fact, comparatively obscure to even comparatively well-read art lovers. Why the neglect? I imagine the standard arguments apply. Media coverage, gallery representation, access to collectors, and museum shows were always more available to male artists than female artists. Women in the 1940s to 1960s in the US had to commit to what was considered an unconventional lifestyle in order to concentrate on making art. Blurbs at the show also point out that media attention on Abstract Expressionism then (and even now) was very much aimed at the East Coast—at New York City—not at the West Coast.
It’s a shame, because there is some very fine work to see here. The gallery’s website has a link to an essay about the show that gives an overview, links to artist biographies, and a link to the Hyperallergic article I found on line, so I won’t attempt to duplicate what’s available there, but I do want to note some of my favorite pieces in the show, which, I should say, is very tastefully presented.
Zoe Longfield's Untitled (above), from 1949, immediately caught my eye. It's use of pale blue and ochre immediately put me in mind of some of Richard Diebenkorn's work of around the same time or a little later, but I was also reminded of some of the early work of Mark Rothko before he settled into the large colored-lozenge paintings he's best known for. It's natural to see affinities, but this painting stands very well on its own.
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Zoe Longfield
Untitled, Biomorphic Abstraction (1948)
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I was also very impressed by Longfield's 1948
Untitled, Biomorphic Abstraction, which, as the title suggests, uses more organic shapes. Again, a juxtaposition of blue and ochre is at work here (likely a coincidence). The use of black is particularly interesting—the way it's given the same weight as the other colors in the painting. In addition, the painting achieves what I like to call "dynamic stasis"; it achieves movement while seeming solidly grounded at the same time.
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Lenore Vogt
Bird (1961) |
Among the most imposing paintings in the show is Lenore Vogt's large
Bird (1961). Because of reflections, it was difficult to photograph
in situ, but seen in person it has a sensuous, painterly surface and there are great subtleties in the dark central mass.
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Nell Sinton
Dark Landscape (1958) |
Also of particular interest to me were two small pieces on paper by Joyce Rezendes (not pictured here), who was associated with 6 Gallery in San Francisco, a large painting by Bernice Bing (not pictured), and Nell Sinton's
Dark Landscape (1958), among others.
Dark Landscape can be read as a landscape, but it comes across equally strongly (or more so) as an abstraction. There is something about it that—despite the dark palette—reminds me of those transitional Kandinsky pieces in which he is clearly moving into an abstract mode of work but hasn't been able to give up representation entirely.
I aim to look into these and other artists in the show further (I'm awaiting the arrival of a copy of Women of Abstract Expressionism, edited by Joan Marter, which appears to be an excellent reference work on the subject of women in Abstract Expressionism). I’m very pleased to have found Modern Art West. It’s a welcome addition to the area. I look forward to seeing future shows there. I’m tempted to say this and Calabi Gallery in Santa Rosa are now the two most interesting galleries in the county. I highly recommend both (and The Red Brown Collection in Bodega Bay and Hammerfriar Gallery, in Healdsburg!).
*You can send an e-mail to Mr. Keaton to schedule a visit. However, the show runs only through the end of this week, until September 11. The next show at Modern Art West will be INDICATORS: Nature in Flux, a solo exhibition of work by Peter Hassen (September – November 2022).
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