Green's Apogee

Inscriptions

Signed, on reverse.

Label

I felt that Abstract Expressionist work was an appropriate language for me as a queer, it was a hidden language, on the radical fringe, a language appropriate to being separate. --Louise Fishman

Fishman remained true to Abstract Expressionist ideals throughout her career, emphasizing powerful brushstrokes as testimonies to the creation of the painting. By making bold marks on a canvas, she reinforced her presence in the world and, hopefully, revealed something personal and emotional about herself, even if vague or allusive. The title of this work also suggests her interest in pushing her materials—green painting in this case—to reach the limit of their own expressive potential.

From the 2023 exhibition The Painter's Hand: U.S. Abstraction since 1950, curated by John Stomberg, Virginia Rice Kelsey 1961s Director

Course History

WRIT 5, Expository Writing, William Craig, Winter 2014

SART 25.01, Painting I, Esme Thompson, Fall 2019

Studio Art 25.01, Painting I, Enrico Riley, Winter 2023

Studio Art 25.01, Painting I, Daniele Genadry, Summer 2023

Philosophy 1.11, Art: True, Beautiful, Nasty, John Kulvicki, Summer 2023

Philosophy 1.11, Art: True, Beautiful, Nasty, John Kulvicki, Summer 2023

First Year Student Enrichment Program - Cultures, Identities and Belongings, Francine A'Ness, Summer 2023

Exhibition History

Environments and Empires, Rose Art Museum, Brandeis University, Waltham, Massachusetts, January 23-April 13, 2008.

In Residence: Contemporary Art at Dartmouth, Churchill P. Lathrop Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 18-July 6, 2014.

Louise Fishman, Cheim & Read, New York, February 15-March 25, 2006.

Louise Fishman: A Retrospective, Neuberger Museum of Art, Purchase College, State University of New York, Purchase, New York, April 3-July 31, 2016.

Louise Fishman: The Tenacity of Painting, Paintings from 1970 to 2005, Dartmouth College Studio Art Exhibition, Hopkins Center, Dartmouth College, Hanover, New Hampshire, April 3-May 6, 2007.

The New Landscape/ The New Still Life: Soutine and Modern Art, Cheim & Read, New York, June 22-September 9, 2006.

The Painter's Hand: U.S. Abstraction since 1950, William B. Jaffe and Evelyn A. Jaffe-Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 3-December 16, 2023.

The Ringling International Arts Festival, The John and Mable Ringling Museum of Art, Sarasota, Florida, October 7-October 25, 2009.

Publication History

___________. Louise Fishman (exhibition catalogue), Essay by David Deitcher New York, New York: Cheim & Read, 2006 reproduced in color, unpaginated.

Maurice Tuchman and Esti Dunow, The New Landscape/ The New Still Life: Soutine and Modern Art, New York, Cheim & Read, 2006, illustrated in color, unpaginated.

Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. cover, p. 111 , no. 101

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 35, ill. fig. 6.3.

Provenance

The artist; Cheim & Read, New York, New York; sold to present collection, 2013.

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