LOUISE FISHMAN: always stand ajar by Van Doren Waxter

LOUISE FISHMAN

always stand ajar

HYMN OF THE ROCK

Louise Fishman devoted her life as a painter to the tireless exploration and enlargement of what gestural abstract painting could be. Always pushing the limits of the medium, she allied formal and technical discoveries on the canvas with her identity as a queer Jewish woman. Drawing strength and inspiration from a wide range of sources, including poetry, music, her artistic heroes, her Jewish heritage, and the women’s and gay movements, Fishman’s work, through her nearly alchemical mastery of paint, absorbs and finally transcends personal identity to embody and exalt multiple aspects of the human spirit.

This exhibition brings together a group of ten paintings created between 2003 and 2013, all titled with phrases taken from poems by Wallace Stevens and Emily Dickinson. They represent a small cross section of the approximately two dozen paintings that Fishman titled from Stevens and at least fifteen from Dickinson. While other poets were also sources for titles (including Elizabeth Bishop, Constantine Cavafy, Charles Baudelaire, and Gerald Stern for four), and of course many paintings have titles derived from completely other sources, when it came to poetry, Stevens and Dickinson predominate.

Reading poetry was a regular part of Fishman’s daily life, as her spouse, Ingrid Nyeboe, recalls, and there were always poetry books lying around the studio. Her gravitation to Stevens and Dickinson in particular is noteworthy. Both were, one might say, American individualists who lived seemingly conventional lives in rather drab medium-sized towns in New England, rather than in urban centers (or abroad). Their work is complementary in a sense: Stevens’s highly cerebral, digressive, allusive, elusive, musical and painterly; Dickinson’s more corporeal, direct

if cryptic, in fact, laconic, and in her brevity, aphoristic. Fishman’s work shares aspects of both these contrasting sensibilities.

The way Fishman chose her titles from the poems is itself revealing. Although she had a close familiarity with both poets’ works, she did not reach into her memory to recall meaningful passages, but rather, as Ingrid has said, flipped through the books to land on evocative phrases more or less at random. It was a kind of game. In fact, the process is similar to the ancient divination practice of Sortes Virgilianae, when, starting in the Roman era, seekers of guidance would open (or unscroll) Virgil’s Aeneid , pick a phrase at random, and interpret it as bearing upon the question of the moment. In medieval times, Virgil’s work was seen as having this quasi-magical power because it was he who had guided Dante through the underworld. In the modern world, we credit our own poets with a not dissimilar kind of connection to the unseen.

For Fishman, knowing the poets’ work as she did, the short three- or four-word phrase taken from a poem could also implicate the poem as a whole. Thus the title My Final Inch (2009), which

might, at first, be taken rather literally when looking at the series of approximately one-inchwide stripes across the painting it names, also evokes her familiarity with the Dickinson poem it comes from, “I stepped from Plank to Plank.”

The poem can be read to encompass many implications, not least the high-wire act that the kind of exploratory, improvisational abstract painting that Fishman practiced is, where the image must always be invented afresh and there is nothing, as it were, between the artist and the result except the power and the limitations of her own imagination and her ability to manipulate the physical material of paint.

I stepped from Plank to Plank A slow and cautious way The Stars about my Head I felt About my feet the sea.

I knew not but the next Would be my final inch-This gave me that precarious Gait Some call Experience. 1

The Crust of Shape (2003) takes its title from canto XXXII of Wallace Stevens’s “The Man with the Blue Guitar,” and this title also invites us to circle back to its source poem, where we may find further applications to the art of painting— unsurprisingly, since the poem was inspired by a Blue Period painting by Picasso and is full of color and painterly effects. This particular canto urges the guitarist, the artist, to “Throw away the lights, the definitions” and reimagine “what you see” without using the old, conventional “rotten names” for things. Instead, “Nothing must stand / Between you and the shapes you take / When the crust of shape has been destroyed.” 2 What a beautiful, odd image: “the crust of shape.” In this context it appears to mean a protective buildup that prevents the true, inner nature of an entity from being revealed, as though “shape” itself, even

as it describes, were concealing something deeper and more meaningful, as words both describe and conceal. To discover that deeper thing is to discover yourself, “You as you are.” When the world is viewed afresh, without constricting, preconceived definitions, the artist becomes one with the image she constructs—takes its shape. In Fishman’s case, this occurs on canvas, where the “crust” of paint becomes no barrier but a literal tool for self-discovery.

It is not so much that she “puts herself into” the work physically, although in The Crust of Shape she very much does that in the vigorous sweeping arcs of paint that speak to the athlete Fishman once was. It is, rather, the ever-self-questioning nature of her work that both keeps the imagery fresh and alive and makes manifest her artistic persona.

The poetry of Wallace Stevens is inhabited by a host of various male and female “presences.” “The presences are of his making. They are parts of him,” the critic James Baird has written, adding, “Not since Keats has English poetry known a comparable ardor of invocation.” 3 I would argue that Fishman’s work, too, comes alive with a corresponding ardor of invoked “presences” that are likewise parts of herself. Many female presences, both historical figures and personal friends, are, of course, evoked quite explicitly in her series of thirty “Angry Women” paintings on paper from 1973. The first to be painted was Angry Louise , but in a sense she encompasses all of them. Angry Marilyn honors Marilyn Monroe, a “goddess” indeed of Fishman’s personal pantheon, whose overpowering screen presence shocked the very young Louise into a realization of her own sexuality and identity. She remained a foundational figure in Fishman’s imagination, invoked obliquely in other works, including Blonde Ambition (1995).

With these exceptions, and a few other paintings in homage to specific individuals, the

1 Emily Dickinson, The Complete Poems of Emily Dickinson , edited by Thomas H. Johnson (Boston, Toronto: Little, Brown and Company, 1960), 416.

2 Wallace Stevens, Collected Poetry and Prose (New York: The Library of America, 1997), 150.

3 James Baird, The Dome and the Rock: Structure in the Poetry of Wallace Stevens (Baltimore: Johns Hopkins University Press, 2020, Chapter 13), 217. Online at Project MUSE, http://dx.doi.org/10.1353/book.72313.

“presences” in Fishman’s painting are “abstract” and undefined, but no less real for that. At the heart of the present exhibition are six relatively large canvases of vertical (“portrait”) format dating from 2003 to 2005, all somewhat related formally, all with titles after Wallace Stevens. These works, Essential Shadow (2003), T he Crust of Shape (2003), Blue Friends in Shadows (2004), Green in the Body (2004), And Yet, And Yet (2005), and Glitter of a Being (2005) are characterized by networks of bold dark paint strokes on a contrasting field. Fishman often spoke of the importance of the grid in her work, and these paintings, while far from regular grids, might be seen as extremely freeform variations, or even “queerings” of the grid. In the case of Green in the Body , Blue Friends in Shadows and Essential Shadow , the dark lines enclose and define interlocking capsules of varying shapes; in The Crust of Shape the network of dark lines is denser and more full of movement and swing, recording the sweeping arm gestures of the painter as she made them, to suggest, in turn, a welter of indecipherable glyphs, a caryatid, a permeable screen. Glitter of a Being becomes almost calligraphic with strokes that are wider in relation to the canvas than in the other paintings. And Yet, And Yet in a palette of ghostly gray and white with undertones of pale green, its sinuous volumetric brushstrokes muddled in places by wet daubs as though giant tears or rain had fallen there, posits a more temperate response to undefined loss than the earlier, darker The Art of Losing (2003), after the famous Elizabeth Bishop poem.

Would some free-association help here?

Fishman’s paintings invite it, as a poem does. Green in the Body : whose body? Firm, upright and curvy near-black lines define and enclose oblong cells of a washy green over a mostly obscured bright yellow orange, with a little blue in there somewhere. Green is a color that recurs often in Stevens’s poems, and also in

Fishman’s work, especially of this period. The title comes from Stevens’s “The Well Dressed Man with a Beard,” which begins, “After the final no there comes a yes / And on that yes the future world depends.” 4 The phrase “green in the body” suggests growth and affirmation, which is echoed in the painting, with its dynamic, cellular structure. Think chlorophyll, the green pigment that allows leaves to absorb energy from the sun; photosynthesis, the process by which solar energy is absorbed and converted into the nutrients that a plant needs for growth. From sheer energy, something solid: a tree, a painting. There is a feeling of speed, of travel almost, in the swift straight lines of the painting, which appear to have been painted in single, sleek, decisive strokes. Always in Fishman’s work there is the sense of movement, and often of music (visual “harmonies,” rhythms, rising or falling intervals; here subliminal suggestions of organ pipes, lyre strings). Green in the body—of a plant, a human, a goddess, or all three: Daphne, fleeing from Apollo, who, when he catches her, in Ovid’s telling, cries, “Since thou canst not be my bride, thou shalt at least be my tree.” 5

Fishman constantly pushed the limits of what you can do with paint, what you are allowed to do with paint. Her intense involvement with process, shared with many artists of her generation, dates back at least to the early 1970s when she spent several years experimenting with unconventional media (rubber, latex) and techniques (sewing, weaving) influenced, in particular, by Eva Hesse, and continued to inflect her work in traditional oil paint. Consider My Final Inch . Even looking closely I can’t figure out exactly how it was painted. What it initially presents is a series of alternating pink and dark blue vertically slanted and slightly curved stripes or slashes across the top two-thirds of the painting, with a few similar stripes lying horizontally below them. Woven in, among and around the stripes, are marks and swashes of white, crimson, light blue,

4 Stevens op. cit., 224.

Ovid, Metamorphoses , translated by Frank Justus Miller, Loeb Classical Library (London: Heinemann, 1916, reprint ed. 1960), 40.

brown and maroon. What is perhaps not clear in reproduction is that some of the edges of the dark teal stripes are torn, with paint “skin” curling off them in places. It appears as though lengths of tape or paper had been laid down on the painting at one point, painted over with blue, and then peeled off to reveal the stripes of pink beneath. The effect is reminiscent of a poster partly torn off a hoarding to reveal fragments of another poster beneath, the two images held simultaneously, melding yet not melding in a surreal juxtaposition. The torn paint skin is almost painful to look at, as though actual flesh, which the pinky brown hues in the painting call to mind, had been pulled apart. This sense of unease is reinforced by the title, with its indication of the poet/painter being pushed to her limit in a desperate mental or physical struggle.

Fishman never lost sight of the mineral sources of pigments, or a sense in which her paintings were literally made of rock. Her paintings are records of accretions and excavations, like geological strata: paint is built up in layers, and scraped back down, and rebuilt again, and the resulting work is synonymous with this process. The painting is the rock, and The Rock, as Stevens’s thus titled poem has it, is “The starting point of the human and the end, / That in which space itself is contained.” 6 Fishman’s Hymn of the Rock (2013), whose title comes from the poem just cited, is more thinly painted than other works, but its veils of scraped and reapplied paint, its distinct areas of different activity, including sgraffito and muted grids, angled in perspective so that they appear to lie on different planes, then “cancelled” by the three blue poles slashing across the surface of the left half, combine to lend it an illusion of deep space. That this space is contained within a thirty-inch square of canvas is no less astonishing than the concept of space itself contained within a rock.

Loose the Flood (2009), titled after Emily Dickinson’s strange and powerful poem “Split the Lark and you’ll find the Music,” is a mysterious image, rich in surprising effects and changes of register. It is dominated by a large white apparition, seeming to have risen in the center of what, again, is a painted illusory space, simultaneously evoked and denied, composed of discrete areas of black, brown, blue, teal, areas of bare canvas, and parallel striations left by a comb instrument drawn across wet paint. Along the lower left edge a thick brown glob contrasts in its frank materiality with the quick, feathery strokes elsewhere on the canvas and contradicts the pictorial space they create. The central apparition glows bright white beneath a series of diagonal strokes of blue white that seem to enhance its whiteness and sense of otherworldliness, even as their vigorous application appears to “cancel” it. A smaller clutch of blue-white brushstrokes veiling darker passages below functions almost as its shadow or reflection. “Loose the Flood --- you shall find it patent --- / Gush after Gush, reserved for you ---” 7 Fishman’s title seems to take the phrase “loose the flood” out of the rather ambiguous context of the poem, to make it a kind of exhortation, expressing the artist’s imperative to release her full powers of imagination and feeling through a “flood” of paint. And yet, there are those long Dickinson dashes. Fishman appreciated the way Emily Dickinson’s idiosyncratic insertion of dashes between words and phrases, indicating hesitations and disrupting the rhythm, brings to her poems not only a sense of improvisation, but also actual mark-making. Sometimes Dickinson’s dashes seem to hold back the “flood” of her emotions, breaking the third wall of the poem with questions or reservations, similar in a way to the “code switching” sometimes found within a single Fishman painting. Loose the flood?—or leave it be, a presence, potential, potent, whole.

Nathan Kernan

6 Stevens op. cit., 447.

7 Dickinson op. cit., 412.

THE MAN WITH THE BLUE GUITAR XXXII WALLACE STEVENS

Throw away the lights, the definitions, And say of what you see in the dark

That it is this or that it is that, But do not use the rotted names.

How should you walk in that space and know Nothing of the madness of space,

Nothing of its jocular procreations? Throw the lights away. Nothing must stand

Between you and the shapes you take When the crust of shape has been destroyed.

You as you are? You are yourself. The blue guitar surprises you.

THE CRUST OF SHAPE, 2003, OIL ON LINEN, 90X 60 IN, 228.6 X 152.4 CM

THE CANDLE A SAINT WALLACE STEVENS

Green is the night, green kindled and appareled. It is she that walks among astronomers

She strides above the rabbit and the cat, Like a noble figure, out of the sky,

Moving among the sleepers, the men, Those that lie chanting green is the night.

Green is the night and out of madness woven, The self-same madness of the astronomers

And of him that sees, beyond the astronomers, The topaz rabbit and the emerald cat,

That sees above them, that sees rise up above them, The noble figure, the essential shadow,

Moving and being, the image at its source, The abstract, the archaic queen. Green is the night.

ESSENTIAL SHADOW, 2003, OIL ON CANVAS, 47 X 32 IN, 119.4 X 81.3 CM

True transfigures fetched out of the human mountain, True genii for the diminished, spheres, Gigantic embryos of populations, Blue friends in shadows, rich conspirators, Confiders and comforters and lofty kin.

BLUE FRIENDS IN SHADOWS, 2004, OIL ON LINEN, 65 X 41 IN, 165.1 X 104.1 CM

CHOCORUA TO ITS NEIGHBOR XVII

WALLACE STEVENS

THE WELL DRESSED MAN WITH A BEARD WALLACE STEVENS

After the final no there comes a yes And on that yes the future world depends. No was the night. Yes is this present sun. If the rejected things, the things denied, Slid over the western cataract, yet one, One only, one thing that was firm, even No greater than a cricket’s horn, no more Than a thought to be rehearsed all day, a speech Of the self that must sustain itself on speech, One thing remaining, infallible, would be Enough. Ah! douce campagna of that thing! Ah! douce campagna, honey in the heart, Green in the body, out of a petty phrase, Out of a thing believed, a thing affirmed: The form on the pillow humming while one sleeps, The aureole above the humming house . . .

It can never be satisfied, the mind, never.

GREEN IN THE BODY, 2004, OIL ON LINEN, 77 X 55 IN, 195.6 X 139.7 CM

The glitter of a being, which the eye Accepted yet which nothing understood, A fusion of night, it’s blue of the pole of blue. And of the brooding mind, fixed but for a slight Illumination of movement as he breathed.

GLITTER OF A BEING, 2005, OIL ON JUTE, 50 X 42 IN, 127 X 106.7 CM

CHOCORUA TO ITS NEIGHBOR VI

WALLACE STEVENS

AN ORDINARY EVENING IN NEW HAVEN I WALLACE STEVENS

The eye’s plain version is a thing apart, The vulgate of experience. Of this, A few words, and and yet, and yet, and yet --

As part of the never-ending meditation, Part of the question that is a giant himself: Of what is this house composed if not of the sun,

These houses, these difficult objects, dilapidate Appearances of what appearances, Words, lines, not meanings, not communications,

Dark things without a double, after all, Unless a second giant kills the first -A recent imagining of reality,

Much like a new resemblance of the sun, Down-pouring, up-springing and inevitable, A larger poem for a larger audience,

As if the crude collops came together as one, A mythological form, a festival sphere, A great bosom, beard and being, alive with age.

WE LIKE A HAIRBREADTH ‘SCAPE’ EMILY DICKINSON

We like a Hairbreadth ’scape It tingles in the Mind Far after Act or Accident Like paragraphs of Wind

If we had ventured less The Breeze were not so fine That reaches to our utmost Hair Its Tentacles divine.

PARAGRAPHS OF WIND, 2008, OIL ON CANVAS, 32 X 30 IN, 81.3 X 76.2 CM

I STEPPED FROM PLANK TO PLANK EMILY

DICKINSON

I stepped from plank to plank So slow and cautiously; The stars about my head I felt, About my feet the sea.

I knew not but the next Would be my final inch,— This gave me that precarious gait Some call experience.

SPLIT THE LARK AND YOU’LL FIND THE MUSIC EMILY DICKINSON

Split the Lark — and you’ll find the Music — Bulb after Bulb, in Silver rolled — Scantily dealt to the Summer Morning Saved for your Ear when Lutes be old.

Loose the Flood — you shall find it patent — Gush after Gush, reserved for you — Scarlet Experiment! Sceptic Thomas! Now, do you doubt that your Bird was true?

LOOSE THE FLOOD, 2009, OIL ON JUTE, 66 X 39 IN, 167.6 X 99.1 CM

The starting point of the human and the end, That in which space itself is contained, the gate To the enclosure, day, the things illumined

By day, night and that which night illumines, Night and its midnight-minting fragrances, Night’s hymn of the rock, as in a vivid sleep.

HYMN OF THE ROCK, 2013, OIL ON LINEN, 30 X 30 IN, 76.2 X 76.2 CM

THE ROCK

WALLACE STEVENS

UNTITLED, 2000, VARIOUS MEDIA ON PAPER, 15 1/2 X 22 5/8 IN, 39.4 X 57.4 CM

UNTITLED, 2002, INK WASH AND GOUACHE ON PAPER, 29 3/4 X 22 IN, 75.6 X 55.9 CM

UNTITLED, 2008, ACRYLIC ON RICE PAPER, 16 3/4 X 12 1/2 IN, 42.5 X 31.8 CM

LOUISE FISHMAN

1939 Born in Philadelphia, PA

1965 Moves to New York NY

2021 Died July 26, 2021, New York NY

Lived and worked in New York NY, Venice, Italy, Worcester NY

EDUCATION

1956–57 Philadelphia College of Art, Philadelphia PA

1958 Pennsylvania Academy of Fine Arts, Philadelphia PA

1963 B.F.A. and B.S., Tyler School of Fine Arts, Elkins PA

1965 M.F.A., University of Illinois, Champaign IL

SOLO EXHIBITIONS

2025 LOUISE FISHMAN: always stand ajar, Van Doren Waxter, New York NY

2023 Dear Louise; A Tribute to Louise Fishman (1939-2021), Cheim & Read, New York NY

Louise Fishman: Soliloquy, Locks Gallery Philadelphia PA

2022 The Soul Selects: Louise Fishman and Her Heroes, Martin, Mitchell and Hesse, Goya Contemporary, Baltimore, MD

Catalogue with essay by Dr. Judith Stein

Louise Fishman 1960s: Darkness and Light, Karma Gallery, New York NY

Catalogue with contribution by Gerald Stern, essays by Carter Ratcliff, Rachel Haidu, Archie Rand

2021 A Question of Emphasis: Louise Fishman Drawing, Krannert Art Museum, Champaign, IL curated by Amy Powell

Catalogue with essays by Amy Powell, Jill Cassid, Catherine Lord, Ulrike Mueller

Media: Scrawled and Sensuous: Louise Fishman at Krannert Art Museum, by Jessica Baran, Art in America

Louise Fishman: We’ll Meet Again, Vielmetter Los Angeles CA

2020 Louise Fishman 9 Works on Paper, Karma Gallery New York

Online solo with online catalogue essays by Amy Sillman, Gilles Heno-Coe

Louise Fishman: Ballin’ the Jack, Karma Gallery, New York NY

LOUISE FISHMAN, book by Karma with essays by Debra Singer, Josephine

Halvorson, Suzan Frecon, Aruna D’Souza, Andrew Suggs, Bertha Harris, John Yau, Louise Fishman

Media: Goings On About Town: Louise Fishman by Hilton Als, the New Yorker; Louise Fishman @Karma by Mark Stone, Henri Art Magazine; Louise Fishman: Ballin’ the Jack by Ksenia Soboleva, Brooklyn Rail; The Artistic Athleticism of Louise Fishman, by Jackson Arn, Frieze

2019 Louise Fishman: The Tumult in the Heart, Vielmetter Los Angeles CA

Louise Fishman: My City, Locks Gallery, Philadelphia PA

Catalogue with essay by Andrew Suggs

2017 Louise Fishman, Cheim & Read, New York NY

2016

2015

2014

2013

2012

Catalogue with essay by Aruna D’Souza

Louise Fishman: A Retrospective, Neuberger Museum, Purchase College, State University of New York, Purchase NY curated by Helaine Posner; traveled to Weatherspoon Art Museum, University of North Carolina, Greensboro North Carolina

Paper Louise Tiny Fishman Rock, Institute of Contemporary Art, University of Pennsylvania, Philadelphia PA curated by Ingrid Schaffner,

Louise Fishman, Cheim & Read, New York NY

Catalogue with essay by Alex Greenberger

Louise Fishman – Venice Watercolours 2011–2013, Frameless Gallery & Gallery Nosco, London UK

Text and Curatorial by Suzana Diamond

Louise Fishman: It’s Here – Elsewhere, Goya Contemporary, Baltimore MD

Louise Fishman, Cheim & Read, New York NY

Catalogue with essay by Judith Stein

Louise Fishman: Paintings, Drawings & Prints, John Davis Gallery, Hudson New York

Louise Fishman: Five Decades, Jack Tilton Gallery, New York NY

curated by Simon Watson

2010 Louise Fishman, Gallery Paule Anglim, San Francisco CA

2009 Louise Fishman: Among the Old Masters, John & Mable Ringling Museum of Art, Sarasota FL

2008

Louise Fishman, Cheim & Read, New York NY

Louise Fishman: Between Geometry and Gesture, Galerie Kienzle & Gmeiner, Berlin, Germany

2007 Louise Fishman, The Tenacity of Painting: Paintings from 1970 to 2005, Hood Museum of Art, Dartmouth College, Hanover NH

2006

2005

2004

2003

2002

2001

2000

Catalogue with essay by Faye Hirsch

Louise Fishman, Cheim & Read, New York NY

Catalogue with essay by David Deitcher

Louise Fishman, Foster-Gwin, San Francisco CA

Louise Fishman, Recent Work, Manny Silverman Gallery, Los Angeles CA New York Abstract Painters George McNeil / Louise Fishman / 2004, Foster-Gwin, San Francisco CA

Louise Fishman, Cheim & Read, New York NY

Zine with essay by Tom Breidenbach

Louise Fishman, Manny Silverman Gallery, Los Angeles CA

Louise Fishman, Paule Anglim Gallery, San Francisco CA

Louise Fishman, Cheim & Read, New York NY

Catalogue with essay by John Yau

1999 Louise Fishman, Paule Anglim Gallery, San Francisco CA

1998

Louise Fishman: Paintings & Drawings, Rhona Hoffman Gallery, Chicago IL

Louise Fishman: Recent Paintings and Drawings, Cheim & Read, New York NY

Catalogue with essay by Nathan Kernan

1996 Louise Fishman: Recent Paintings, Robert Miller Gallery, New York NY

1995 Small Paintings, Robert Miller Gallery, New York NY

1994 Small Paintings, 1992–1994, Bianca Lanza Gallery, Miami FL

1993 Louise Fishman, Robert Miller Gallery, New York NY

1992

1991

Catalogue with essay by Melissa Feldman

Louise Fishman: Small Paintings, 1979–1992, Temple Gallery, Tyler School of Art, Philadelphia PA

Drawings and Experimental Work, 1971–1992, Tyler Gallery, Tyler School of Art, Philadelphia PA

Louise Fishman: Paintings 1986–1992, Morris Gallery, PA Academy of Fine Arts, Philadelphia PA

Louise Fishman: Small Paintings 1978–1992, Simon Watson, New York NY

preview of exhibition held at Temple Gallery, Tyler School of Art, Philadelphia PA

Louise Fishman: Small Paintings, Olin Art Gallery, Kenyon College, Gambier OH

Catalogue with contribution by Read Baldwin, essay by Simon Watson

Louise Fishman: New Paintings, Lennon, Weinberg, Inc., New York NY

1989 Louise Fishman: New Paintings 1987–1989, Lennon, Weinberg, Inc., New York NY

Catalogue with contribution by Bernard Lennon & Jill Weinberg

Remembrance and Renewal, Simon Watson Gallery, New York NY

Catalogue with essay by Lisa Liebmann

1987

1986

Louise Fishman and Andy Spence: Two from the Corcoran, Winston Gallery, Washington, D.C

Louise Fishman: New Paintings, Baskerville & Watson Gallery, New York NY

1985 Fishman/Sanderson, North Carolina Museum of Art, Raleigh NC

1984

1982

Louise Fishman, Baskerville & Watson Gallery, New York NY

Louise Fishman: Recent Work, Oscarsson-Hood Gallery, New York NY

Louise Fishman, John Davis Gallery, Akron OH

1980 Louise Fishman: Small Paintings, The MacDowell Colony Oscarsson-Hood Gallery, New York NY

1979 Louise Fishman, Nancy Hoffman Gallery, New York NY

1978

1977

1976

Louise Fishman: Five Years, 55 Mercer, New York NY

Louise Fishman, Diplomat’s Lobby, US Department of State, Washington D.C.

Louise Fishman, Nancy Hoffman Gallery, New York NY

Louise Fishman, University of Rhode Island, Kingston RI

Louise Fishman, John Doyle Gallery, Chicago IL

1974 Louise Fishman, Nancy Hoffman Gallery, New York NY

1964 Louise Fishman, Philadelphia Art Alliance, Philadelphia PA

GROUP EXHIBITIONS

2025 Small is Beautiful, Van Doren Waxter, New York, NY

2024 On Paper, Locks Gallery, Philadelphia PA

2022 Ninth Street and Beyond: 70 Years of Women in Abstraction Part 1: The Gestural.

293 10th Avenue NYC

2021 Kick Ass Painting: New York Women, Louise Fishman, Brenda Goodman, Carrie Moyer, Anat Ebgi Gallery, Los Angeles CA

20 Years Anniversary Exhibition Part II, Vielmetter Los Angeles CA

2020 Heroines of Abstract Expressionism and FEM, Nassau County Museum of Art, Nassau, NY

2019 Presenze Venezia Part 1e; Spazio E Tempo, Archivio Emily Harvey, San Polo 387, Venice, Italy

Small Paintings, Corbett vs. Dempsey Gallery, Chicago IL

Just Painting, curated by Ezra Tessler, Jack Barrett Gallery, New York NY

Artists I Steal from, co-curated by Julia Peyton-Jones and Álvaro Barrington, Galerie Thaddaeus Ropac, London UK

Art After Stonewall, 1969–1989, curated by Jonathan Weinberg with Tyler Cann and Drew Sawyer, Leslie-Lohman Museum, New York NY; traveled to Patricia & Phillip Frost Art Museum, FIU, Miami FL; Columbus Museum of Art, Columbus OH

2018 Known: Unknown, curated by Graham Nickson and Rachel Rickert, New York Studio School, New York NY

White Anxieties, curated by Raul Zamudio and Juan Puntes with Peter Wayne Lewis, White Box, New York NY

The Humble Black Line, Frameless Gallery, London UK

Surface Work, Victoria Miro Gallery I and II, London UK

Carry the Bend, Brennan & Griffin, New York NY mark, Team Gallery, New York NY

2017 Shonky: The Aesthetics of Awkwardness, organized by Hayward Touring, Metropolitan Arts Centre, Belfast, United Kingdom; traveled to Dundee Contemporary Arts, Dundee, United Kingdom; Bury Art Museum & Sculpture Centre, Bury, United Kingdom

Citings/Sightings, Lennon, Weinberg, Inc., New York NY

Weber Fine Art in Black and White, Weber Fine Art of Greenwich, Greenwich CT

Blue Black, curated by Glenn Ligon, Pulitzer Arts Foundation, St. Louis MO

Art in Balance: Motorcycles and Fine Art, Susquehanna Art Museum, Harrisburg PA

Women Painting, organized by Girls’ Club and curated by Michele Weinberg and Michelle Rupert, Martin and Pat Fine Art Center for the Arts, Miami-Dade College, Kendall FL

If I Had Possession Over Judgment Day: Collections of Claude Simard, curated by Ian Berry, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs NY

2016 #Pussypower, curated by Jennifer Samet and Michael David, David & Schweitzer Contemporary, Brooklyn New York NY

Leporelli Veneziani, curated by Berty Skuber, Emily Harvey Foundation, EHF Gallery, Venice, Italy

Your Face in the Mirror Isn’t Your Face, Similar to Plastic Silverware, curated by Torey Thornton, Moran Bondaroff, Los Angeles CA

Golem, curated by Emily Bilski, Jewish Museum, Berlin, Germany

Nice Weather, curated by David Salle, Skarstedt Gallery, New York NY

#makeamericagreatagain, curated by Raul Zamudio and Juan Puntes, co-curated by Blanca de la Torre, WhiteBox, New York NY

2015 Intimacy in Discourse: Reasonable and Unreasonable Sized Paintings, curated by Phong Bui, School of Visual Arts, New York NY

Painting 2:0: Expression in the Information Age, Museum Brandhorst, Munich, Germany; traveled to the Museum Moderner Kunst Stiftung Ludwig Wien (mumok), Vienna, Austria

A Few Days, Lennon, Weinberg, Inc., New York NY

Art AIDS America, Tacoma Art Museum, Tacoma, WA; traveled to Zuckerman Museum of Art, Kennesaw State University, Kennesaw GA; Bronx Museum of the Arts, NY; Alphawood Foundation, Chicago IL

Perfect Present: Three Generations of Painting: Louise Fishman, Rosanna Bruno, Odessa Straub, Jeffrey Stark, New York NY

2014 Louise Fishman: Venice Watercolors 2011-2013, Frameless Gallery, London UK

DE/PICT, Frameless Gallery & Gallery Nosco, London UK

Catalogue with text by Mary George

Making Art Dance: Artists Donate Work to Benefit Armitage Gone!, Mana Contemporary, Jersey City NJ

Whitney Museum of American Art 2014 Biennial Exhibition, Whitney Museum of American Art, New York NY

In Residence: Contemporary Artists at Dartmouth, Hood Museum of Art, Dartmouth College, Hanover NH

2013 Reinventing Abstraction: New York Painting in the 1980s, curated by Raphael Rubinstein, Cheim & Read, New York NY

Catalogue with essay by Raphael Rubinstein

2012 PAPYRI: Guestbooks, Bookworks and Similar Departures by Guests of Emily Harvey Foundation 2004–2012, Emily Harvey Foundation, Venice, Italy

Generations: Louise Fishman, Gertrude Fisher-Fishman, and Razel Kapustin, Woodmere Art Museum, Philadelphia PA

Catalogue with contributions by William R. Valerio and Elizabeth Baker

2011 Dance/Draw, Institute of Contemporary Art, Boston, Massachusetts; traveled to Grey Art Gallery, NYU, New York NY; Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs NY

Abstractions, Albert Merola Gallery, Provincetown MA

The Women in Our Life: A Fifteen-Year Anniversary Exhibition, Cheim & Read, New York NY

Seeing Gertrude Stein: Five Stories, Contemporary Jewish Museum, San Francisco CA; traveled to National Portrait Gallery, Washington DC

To the Venetians, Rhode Island School of Design, Providence RI

READYKELOUS/The Hurtful Healer: The Correspondence Issue, Invisible-Exports, New York NY

2010 Painting & Sculpture: To Benefit the Foundation for Contemporary Arts, Lehmann Maupin Gallery, New York NY

LES FEMMES, McClain Gallery, Houston TX

Abstraction Revisited, Chelsea Art Museum, New York NY

Shifting the Gaze: Painting and Feminism, The Jewish Museum, New York NY

Le Tableau: French Abstraction and its Affinities, curated by Joe Fyfe, Cheim & Read, New York NY

2009 Les Femmes, McClain Gallery, Houston TX

Before Again: Joan Mitchell, Louise Fishman, Harriet Korman, Melissa Meyer, Jill Moser, Denyse Thomasos, Lennon, Weinberg, Inc., New York NY

The Ringling International Arts Festival, John and Mable Ringling Museum of Art, Sarasota FL

Abstractions by Gallery Artists, Cheim & Read, New York NY

Propose: Works on Paper from the 1970s, Alexander Gray Associates, New York NY

2008 MassArt at the Fine Arts Work Center: Faculty and Visiting Artists, Hudson D. Walker

Gallery Fine Arts Work Center, Provincetown MA

Pretty Ugly, curated by Alison Gingeras, Maccarone Gallery and Gavin Brown’s Enterprise, New York NY

Significant Form: The Persistence of Abstraction, Pushkin State Museum of Fine Arts, Moscow, Russia

Environments and Empires, Rose Art Museum, Brandeis University, Waltham MA

2007 American Abstract, Maruani & Noirhomme Gallery, Knokke, Belgium

New Short Distance to Now Part #2: Paintings from New York 1967–1975, Galerie Thomas Flor, Düsseldorf, Germany

The Fluid Fields: Abstraction and Reference, Tyler Galleries, Tyler School of Art, Temple University, Philadelphia PA

WACK! Art and the Feminist Revolution, Geffen Contemporary at the Museum of Contemporary Art, Los Angeles CA; traveled to National Museum of Women in the Arts, Washington DC; MoMA PS 1, Long Island City NY; Vancouver Art Gallery, Vancouver, Canada

2006 High Times, Hard Times: New York Painting 1965–75, curated by Katy Siegal, Independent Curators International, Weatherspoon Art Museum, University of North Carolina at Greensboro NC; American University Museum at the Katzen Arts Center, Washington DC; National Academy Museum, New York NY; Museo Tamayo Arte Contemporáneo, Mexico City, Mexico; Neue Galerie Graz, Graz, Austria; ZKM Center for Art and Media

Karlsruhe, Karlsruhe, Germany

The New Landscape / The New Still Life: Soutine and Modern Art, Cheim & Read, New York NY

The Name of this Show Is Not Gay Art Now, Paul Kasmin Gallery, New York NY

2005 Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery, New York NY

PAINT, Elizabeth Leach Gallery, Portland OR Contemporary Women Artists: New York, University Art Gallery, Indiana State University, Terre Haute IN

2004 Summer Invitational, Nielsen Gallery, Boston MA

Twelve from Cheim & Read, Fay Gold Gallery, Atlanta GA Drawing Exhibition, Galerie S 65, Cologne, Germany

2003 The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island NY Women’s Lines, G Fine Art, Washington DC

Grisaille, James Graham & Sons, New York NY

2002 Zenroxy, Von Lintel Gallery, New York NY

Nocturne/Nocturnal, Skoto Gallery, New York NY

Personal and Political: The Women’s Art Movement, 1969–1975, Guild Hall Museum, East Hampton NY

Art Downtown: New York Painting and Sculpture, Wall Street Rising, 48 Wall Street, New York NY

National Academy of Design, 177th Annual Exhibition, New York NY

Painting: A Passionate Response, Sixteen American Artists, The Painting Center, New York NY

Nature Found and Made, Chambers Fine Art, New York NY 2001

Four Painters, Lindsey Brown, New York NY

Watercolor: In the Abstract, curated by Pamela Auchincloss, The Hyde Collection, Glens Falls NY; traveled to Michael C. Rockefeller Arts Center Gallery, State University of New York at Fredonia; Butler Institute of American Art, Youngstown OH; Nina Freundenheim, Inc., Buffalo NY; Ben Shahn Gallery for Visual Arts, William Patterson University, Wayne NJ; Sarah Moody Gallery of Art, University of Alabama at Tuscaloosa AL

Seven Female Visionaries Before Feminism, Mills College Art Museum, Oakland CA

Opening Exhibition, Lesbian and Gay Community Services Center, New York NY

Imaging Judaism / Mining History, Susquehanna Art Museum, Harrisburg PA

Invitational Exhibition of Painting and Sculpture,

American Academy of Arts and Letters, New York NY

2000 Snapshots: An Exhibition of 1000 Artists, The Contemporary, Baltimore MD

The Perpetual Well: Contemporary Art from the Collection of the Jewish Museum, Parrish Art Museum, Southampton NY

Painting Abstraction, New York Studio School, New York NY

National Academy of Design, 175th Annual Exhibition, New York NY

1999 Drawing in the Present Tense, Parsons School of Design, New York NY

Walking, Danese Gallery, New York NY

American Abstraction / American Realism: The Great Debate, curated by Jonathan Van Dyke, Susquehanna Art Museum, Harrisburg PA

Severed Ear: The Poetry of Abstraction, Creiger-Dane Gallery, Boston MA

Gestural Abstraction, Hunter College/Times Square Gallery, New York NY

1998 Paintings & Drawings, Rhona Hoffman Gallery, Chicago IL

Cheim & Read at San Francisco International Art Exposition, San Francisco CA

Undercurrents & Overtones: Contemporary Abstract Painting, California College of the Arts, Wattis Institute for Contemporary Arts, Oakland CA

Small Paintings, Cheim & Read, New York NY

1997 Convergence, George Billis Gallery, New York NY

Voices: The Power of Abstraction, Eighth Floor Gallery, New York NY

Abstract Painting, curated by Jeffrey Wasserman, Carrie Haddad Gallery, Hudson NY

Basically Black & White, Neuberger Museum, State University of New York at Purchase, Purchase NY

Retreat and Renewal: The Painters and Sculptors of the MacDowell Colony, Currier Gallery of Art, Manchester NH; traveled to Equitable Gallery, New York NY; Wichita Art Museum, Wichita KS; Fort Wayne Museum of Art, Fort Wayne IN Affinities with the East, Robert Miller Gallery, New York NY

After the Fall: Aspects of Abstract Painting since 1970, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island NY

1996 Women’s Work, Greene Naftali, New York NY

Transforming the Social Order, Tyler Galleries, Tyler School of Art, Temple University, Philadelphia PA

Summer Group Show, Robert Miller Gallery, New York NY

1995 New Faculty, Harvard University, Carpenter Center for the Visual Arts, Cambridge MA

25 Americans: Painting in the ‘90s, Milwaukee Art Museum, Milwaukee WI

Artist’s Choice: Elizabeth Murray, Museum of Modern Art, New York NY

1995 Carnegie International, Carnegie Museum of Art, Pittsburgh PA

1994 Small and Wet: Abstract Painting and Sculpture, Bernard Toale Gallery, Boston MA

46th Annual Academy Purchase Exhibition,

American Academy of Arts and Letters, New York NY

Consecrations: The Spiritual in Art in the Time of AIDS, Museum of Contemporary Religious Art, Saint Louis University, St. Louis MO

Couples, Elga Wimmer, New York NY

Relatively Speaking: Mothers and Daughters in Art, Sweet Briar College, Sweet Briar, Virginia; traveled to Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island NY; Rahr West Museum, Manitowoc WI

Abstract Works on Paper, Robert Miller Gallery, New York NY

1993 30th Anniversary Exhibition of Drawings, to benefit the Foundation for Contemporary Performance Arts, Inc., Castelli Gallery, New York NY

Singularities, Blondies Contemporary Art, New York NY

The Linear Image II, Marisa del Re Gallery, New York NY

The Inaugural Show, The Painting Center, New York NY

Art Discovery ’93, Cooperstown Art Association and Smithy-Pioneer Gallery, Cooperstown, NY

Abstract-Figurative, Robert Miller Gallery, New York NY

Drawing the Line Against AIDS, under the aegis of the 45th Venice

Biennale, Peggy Guggenheim Collection, Venice, Italy; reinstalled at the Guggenheim Museum, New York NY

1992 Paintings by Martha Diamond, Mary Heilman, Harriet Korman, Louise Fishman and Bernard Piffaretti, Robert Miller Gallery, New York NY

1991 Act-Up Benefit, Matthew Marks Gallery, New York NY

Spring/Summer Exhibition, Part One: Painters, Lennon, Weinberg, Inc., New York NY

Something Pithier and More Psychological, Simon Watson Gallery, New York, NY Twentieth-Century Collage, Margo Leavin Gallery, Los Angeles, CA; traveled to Centro Cultural Arte Contemporáneo, Polanco, Mexico; Musèe d’Art Moderne et d’Art Contemporain (MAMAC), Nice, France

1990 From Earth to Archetype, LedisFlam Gallery, New York NY

Group Exhibition of Gallery Artists, Lennon, Weinberg, Inc., New York NY

A Group Exhibition, Lennon, Weinberg, Inc., New York NY

1989 Belief in Paint: Eleven Contemporary Artists, Usdan Gallery, Bennington College, Bennington VT

Fragments of History, Albany Museum of Art, Albany GA

A Decade of American Drawing 1980–1989, Daniel Weinberg Gallery, Los Angeles CA

Works on Paper, Lennon, Weinberg, Inc., New York NY

Towards Form, Greenberg, Wilson Gallery, New York NY

A Group Exhibition, Lennon, Weinberg, Inc., New York NY

1988 Golem: Danger, Deliverance and Art, Jewish Museum, New York NY

Selections from the Edward R. Downe, Jr. Collection, curated by Klaus Kertess, Davis- McClain Gallery, Houston TX

Louise Fishman, David Reed, Joan Mitchell, curated by Marjorie Welish, Barbara Toll Gallery, New York NY

1987 The Parrish Art Museum, Southampton NY

40th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington DC

Whitney Museum of American Art 1987 Biennial Exhibition, Whitney Museum of American Art, New York NY

1986 Artists for Pride, Nexus Gallery, Philadelphia PA

Louise Fishman, Hermine Ford and Arthur Cohen, Hofstra University, New York NY

Jewish Themes/Contemporary American Artists II, Jewish Museum, New York NY; traveled to Spertus Museum of Judaica, Chicago IL; National Museum of Jewish History, Philadelphia PA

Heland Thorden Wetterling Galleries, Stockholm, Sweden

Spirit Tracks – Big Abstract Drawings, Pratt Manhattan Center Gallery, New York and Pratt Institute Gallery, Brooklyn NY

Baskerville & Watson Gallery, New York NY

1985 Drawings 1975–1985, Barbara Toll Fine Arts, New York NY

Baskerville & Watson Gallery, New York NY

Painting as Landscape, curated by Klaus Kertess, Parrish Art Museum, Southampton, New York; traveled to Baxter Art Gallery, Pasadena California

An Invitational, curated by Tiffany Bell, Condeso/Lawler, New York NY

Paintings 1985, Pam Adler Gallery, New York NY

Twelve Painters and Six Sculptors, Tyler Galleries, Tyler School of Art, Temple University, Philadelphia PA

1984

Relief Prints Since 1980, Summit Art Center, Summit NJ

Second Nature: Abstract Drawings and Paintings, curated by John Lee and Tom Wolf, Proctor Art Center, Bard College, Annandale-on-Hudson NY; Cable Gallery, New York NY

New Prints Since 1980, Phillip Johnson Center, Muhlenberg College, Allentown PA

1983 Six Painters, Hudson River Museum, Yonkers NY

Catalogue

Drawing In and Out, Baskerville & Watson, New York NY

Painting from the Mind’s Eye, Hillwood Art Gallery,

Long Island University, Greenvale NY

1982 Washburn Gallery, New York NY

Abstraction, Neuberger Museum, State University of New York at Purchase, Purchase NY

Susanne Hilberry Gallery, Birmingham, Michigan

Mixing Art and Politics, Randolph Street Gallery, Chicago IL

Five New York Artists: Stuart Diamond, Louise Fishman, Guy Goodwin, Bill Jensen, Judy Pfaff, Suzanne Lemberg, Usdan Gallery, Bennington College, Bennington VT

Abstract Painting: Substance and Meaning – Painting by Woman Artists, New York Chapter of the Women’s Caucus for Art, New York NY

Painterly Abstraction, Fort Wayne Museum, Fort Wayne IN

1981 CAPS Award Winners in Painting 1980–1981, Proctor Art Center, Bard College and Munson Williams Proctor Museum, Utica NY

CAPS Grantees from Brooklyn, Brooklyn Museum, Brooklyn NY

Rush Rhees Fine Arts Gallery, University of Rochester, Rochester NY

1981 Painting Invitational, Oscarsson-Hood Gallery, New York NY

1980 Inaugural Exhibit, Oscarsson-Hood Gallery, New York NY

Work on Paper, Mary Boone Gallery, New York NY

1979 Major New Works, Nancy Hoffman Gallery, New York NY

1977 Critic’s Choice, Joe and Emily Lowe Art Gallery, Syracuse University, Syracuse NY; traveled to Munson-Williams-Proctor Arts Institute Museum of Art, Utica NY

Fifth Anniversary Show, Nancy Hoffman Gallery, New York NY

Paintings that Reveal the Wall, curated by Tom Wolf, Bard College, Annandale-on-Hudson NY

Major New Works, Nancy Hoffman Gallery, New York NY

Nancy Hoffman in Oxford, Miami University, Oxford OH

Preparatory Notes —Thinking Drawings, Part II, 80 Washington Square East Galleries, New York University, New York NY

1976 Paris International Art Fair, Grand Palais, Paris

Artist ’76: A Celebration, Marion Koogler McNay Art Institute, San Antonio TX

Originated at University of Rhode Island, Kingston RI

1975 John Doyle Gallery, Chicago, Illinois

New York Faculty Exhibition, Proctor Art Center, Bard College, Annandale-on-Hudson NY

1973 A Woman’s Group, Nancy Hoffman Gallery, New York NY

Whitney Museum of American Art 1973 Biennial Exhibition, Whitney Museum of American Art, New York NY

1972 Summer Show, Paula Cooper Gallery, New York NY

Open A.I.R., A.I.R. Gallery, New York NY

1963 National Watercolor and Drawing Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia PA

American Academy of Arts and Letters, New York

Art Institute of Chicago, Illinois

Baltimore Museum of Art, Maryland

Carnegie Museum of Art, Pittsburgh, Pennsylvania

Chrysler Museum of Art, Norfolk, Virginia

Denver Art Museum, Colorado

Hood Museum of Art, Dartmouth College, Hanover, New Hampshire

Jewish Museum, New York

Krannert Art Museum, Champaign, Illinois

Kunstmuseum Liechtenstein, Vaduz, Liechtenstein

Metropolitan Museum of Art, New York

Museum of Contemporary Art, San Diego, California

National Museum of Women in the Arts, Washington, D.C.

Neuberger Museum of Art, Purchase College, State University of New York

Pennsylvania Academy of Fine Art, Philadelphia, PA

Tucson Museum of Art, Tucson AZ

University Museum of Contemporary Art, University of Massachusetts, Amherst MA

University of Michigan Museum of Art, Ann Arbor, Michigan

Weatherspoon Museum of Art, Greensboro, North Carolina

Whitney Museum, New York NY

Woodmere Art Museum, Philadelphia, Pennsylvania

AWARDS

1963 Tyler School of Fine Arts, Philadelphia

First Painting Prize, Student Exhibit Tyler School of Fine Arts, Philadelphia

Bertha Lowenburg Prize for the Senior Woman to Excel in Art

1974 Change, Inc., Artists Fellowship

1975 National Endowment for the Arts, Visual Artists Fellowship, Painting

1979 John Simon Guggenheim Memorial Foundation Fellowship in Fine Arts

1980 MacDowell Colony Visual Artists Fellowship

1981 Creative Artists Public Service Program (CAPS) Fellowship in Painting

1983 National Endowment for the Arts, Visual Artists Fellowship, Painting

1986 New York Foundation for the Arts Fellowship in Painting

Adolph & Esther Gottlieb Foundation General Support Grant

1993 National Endowment for the Arts Visual Artists Fellowship, Painting

2002

Adolph & Clara Obrig Prize for Painting, National Academy of Design, 177th Annual Exhibition

2013 The American Academy of Arts and Letters, New York NY

It is a unique privilege to present the gallery’s first exhibition of Louise Fishman’s paintings since taking on representation of her Foundation in 2024. Special thanks go to Ingrid Nyeboe, Louise’s widow, who suggested the unexplored idea of Louise’s relationship to poetry. Ingrid’s deep knowledge of Louise’s work has facilitated all aspects of producing the exhibition and catalogue.

Dorsey Waxter

John Van Doren

Elizabeth Sadeghi

On a personal note, I met Louise in 1973 as an intern working at the Nancy Hoffman Gallery. Her work was commanding in a way that attracted my uninformed attention. Louise and I remained friendly and in touch through the decades during which time I witnessed her work becoming ever more revelatory. Although Louise is no longer with us, we can continue to recognize her singular contribution in this remarkable exhibition.

Dorsey Waxter

LOUISE FISHMAN IN HER CHELSEA STUDIO, 2005

Published on the occasion of the exhibition