The art world, as a microcosm of the actual world, is another place where it’s harder to succeed as a woman. However, a lot of the conversations about “women in art” have to do with rankings, sales, worth, market-driven ideas, and it’s hard to care about the complaint that our paintings or sculptures are undervalued when the whole system of valuation is skewed. I worry more about my prices being too high than about a man’s being higher…
I think that some of the greatest women’s art of the late twentieth century was made because women were locked out of mainstream art practice. Female artists couldn’t sell their paintings at Castelli so they started making videos and working in other, alternative mediums. I actually think being locked out is kind of an interesting place to be. — Nicole Eisenman, PARIS LA*
A touring exhibition of Nicole Eisenman’s paintings and works on paper—in conversation with modern art from the collections of the Aargauer Kunsthaus, the Kunsthalle Bielefeld, the Fondation Vincent van Gogh Arles and the Kunstmuseum Den Haag—is now on view in Switzerland.
See link below for details.
HEADS, KISSES, BATTLES—NICOLE EISENMAN AND THE MODERNS
Through April 24
Aargauer Kunsthaus
Aargauerplatz, Aarau
*“Nothing’s Not Okay: Nicole Eisenman, A.L. Steiner, Matt Wolf, and Recruit #1 in Conversation,” PARIS LA 17 (2021–2022), 46–61.
Heads, Kisses, Battles: Nicole Eisenman and the Moderns, Aargauer Kunsthaus, Aarau, January 29, 2022–April 24, 2022, from top: Nicole Eisenman, Watchers, 2016 , oil on canvas, private collection, photograph by Ingo Bustorf, image © Nicole Eisenman Courtesy of the artist and Hauser & Wirth; Nicole Eisenman, Untitled 3, 2014 mixed media on paper, courtesy of the artist und Mitchell-Innes & Nash, New York, © Nicole Eisenman Foto: Ingo Bustorf; Nicole Eisenman, Support Systems for Women IV, 1998, oil on canvas, private collection, New York, image © Nicole Eisenman, courtesy of the artist and Tilton Gallery, New York; Max von Moos, Die Sünde (Schlangenzauber), 1930, tempera and oil on cardboard, Aargauer Kunsthaus, photograph by Brigitt Lattmann, image © 2021, ProLitteris, Zürich; Alice Bailly, Femmes couchées, undated, oli on canvas, Aargauer Kunsthaus, photograph by Jörg Müller; Nicole Eisenman, T.B.T. (Headed Down River), 2018, oil on canvas, collection of Nachson Mimran, image © Nicole Eisenman, courtesy of the artist and Hauser & Wirth; Nicole Eisenman, Untitled, 2008, monotype on paper, collection of Victoria Robinson, image © Nicole Eisenman, courtesy of the artist and Hauser & Wirth; Co Westerik, Man in the Water, Woman in the Boat, 1959, oil and tempera on canvas, Kunstmuseum Den Haag collection, image © 2021, ProLitteris, Zürich; Hans Arp, Untitled (Vögel), undated, linocut, private collection, image © 2021, ProLitteris, Zürich; Paul Camenisch, Das Brautpaar (Oblomow und Oljga), 1928, oil on canvas, Aargauer Kunsthaus, photograph by Jörg Müller, image © Estate of Paul Camenisch; Nicole Eisenman, Lee and TM, 2015 watercolor on paper, photograph by Ingo Bustorf, image © Nicole Eisenman, courtesy of the artist and Anton Kern Gallery, New York; Nicole Eisenman, Mining I, 2005, oil on canvas, Ringier collection, Switzerland, photograph by Ingo Bustorf, image © Nicole Eisenman, courtesy of the artist and Hauser & Wirth; Nicole Eisenman, Northern California Potter Woman, 2015, oil on canvas, private collection, photograph by Ingo Bustorf, image © Nicole Eisenman, courtesy of the artist and Vielmetter Los Angeles.
