G.B. II

Label

I really wanted to work intuitively, but with a structure . . . the structure would be there, imposed, after a lot of the intuitive part was done. --Deborah Remington

Remington spent time in Japan studying calligraphy and brush and ink painting styles, and she later suggested that this early experience prompted her interest in the expressive possibilities of just black, grey, and white. The brightly colored chevron in the center area offers a counterpoint to the more somber palette, much like the bright red “chop” often found in Japanese art. Her ambiguous forms exist in shifting spatial relationships that are hard to pin down.

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

The images are couched in paradoxical terms and must challenge the mind’s eye, must invoke opposites and hold them in tension. The work at times seems to refer to something in reality, but then the reference is denied. -- Deborah Remington

Remington spent time in Japan studying calligraphy and brush-and-ink painting styles, and she later suggested that this early experience instigated her interest in the expressive range possible with just black, grey, and white. The brightly colored chevron in the center area offers a counterpoint to the more somber palette, much like the bright red “chop” or seal often found in Japanese art. Her ambiguous forms exist in shifting spatial relationships that are hard to pin down.

From the 2025 exhibition Always Already: Abstraction in the United States, curated by John Stomberg, Virginia Rice Kelsey 1961 Director; Jami Powell, Associate Director of Curatorial Affairs and Curator of Indigenous Art; and Amelia Kahl, Barbara C. and Harvey P. Hood 1918 Senior Curator of Academic Programing

Course History

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

Studio Art 15.04, Drawing I, Enrico Riley, Fall 2023

Studio Art 17.08, Digital Drawing, Karol Kawiaka, Fall 2023

Studio Art 25.01, Painting I, Jen Caine, Fall 2023

Writing 5.05, Image and Text, Becky Clark, Fall 2023

Writing 5.06, Image and Text, Becky Clark, Fall 2023

Studio Art 25.01, Studio Art 31.01, Studio Art 72.01, Painting I, Painting II, Painting III, Enrico Riley, Fall 2024

Art History 40.02, The American Century, Mary Coffey, Spring 2025

Art History 40.02, The American Century, Mary Coffey, Spring 2025

Exhibition History

Always Already: Abstraction in the United States, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 26,2025.

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.

Publication History

Margaret Mathews Berenson and Nancy Lim, eds., Deborah Remington, New York: Rizzoli Electa, 2024, ill. p. 51.

Provenance

Craig F. Starr Gallery, New York, New York; sold to present collection, 2021.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu

Subjects