Marjorie Strider "Work from the 1990s"

Bridge Gallery

poster for Marjorie Strider "Work from the 1990s"

This event has ended.

Starting in the 1960s, with her Pop Art, "Girlie Series," Strider was daring to make a bold political and feminist statement about objectification of the female form.  Using an innovative mix of painting and relief sculpture that provided a third dimension to her iconic, bikini-clad female subject matter, Strider’s work was exhibited along with Warhol, Lichtenstein, Ramos, Wesselmann, Oldenberg, Drexler and others. Examples of the “Girlie” series are currently included in a retrospective on feminist artists of that period-- in what the critics have called, “a fascinating revision”-- "Seductive Subversion: Women Pop Artists 1958-1968," at The University of the Arts, Philadelphia. The show will next appear at the Brooklyn Museum of Art, in the Fall of 2010. In a further exploration of the sexually-liberating ‘60s, Strider produced a series of large-scale fruit and vegetable sculptures in the ‘70s and beyond—again mixing painting and sculptural media in a ‘metaphorical’ way that allows the object to be seen as sign and symbol for the figurative elements of the feminine stereotype.  These important works, along with her "Ooze" series and other public installation pieces propelled her to the front of the Post-Minimalist and Feminist Movements of the period. Always the experimenter, by the 1990s, Strider’s work had evolved into a richly complex and symbolic social narrative style. Her ‘90s "Marble Dust" series is an intense and vibrant expression of painting’s physical potential. Again, merging her life-long interest in sculptural elements with painting, these large-scale works present a vibrant and color-filled reminder of the power of abstract form to command and communicate through a wordless language of emotional intensity and desire. The related, smaller works on paper, the "Mexican" series, also on exhibit, embody the same sweeping use of color and form, but also include applied objects and iconic references that move the work into the realm of the unconscious—meditative pieces created to invoke the forces underlying our beliefs, imagination and the memories that shape who we become in later years. Rare examples of Strider’s later "Girlie" series and free-standing sculptural pieces (The Fifty States) will also be on view.



from April 11, 2010 to May 11, 2010

Opening Reception on 2010-04-11 from 16:00 to 19:00

  • Facebook


    All content on this site is © their respective owner(s).
    New York Art Beat (2008) - About - Contact - Privacy - Terms of Use