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THE MILTON RESNICK AND PAT PASSLOF FOUNDATION
Pat Passlof: The Brush Is the Finger of the Brain
Paintings 1949–2011
Foreword by Mark di Suvero. Text by Karen Wilkin.
The first full survey of the six-decade career of Pat Passlof, mainstay of New York’s downtown abstract expressionist scene
Pat Passlof (1928–2011) was intimately engaged in the downtown New York painting scene in the 1950s and ’60s, as a painter, a close friend and confidant of de Kooning and many others, and a cofounder of the March Gallery. She was a dedicated, ambitious woman in a male-dominated art world. But what is most impressive, at any time in her long working life, is her sensuous handling of oil paint, her idiosyncratic sense of color and her independence.
This monograph, the most comprehensive survey of her work published to date, brings her career of over 60 years into focus. As art historian Karen Wilkin demonstrates, Passlof’s later works apply abstract expressionist spontaneity and painterly brushwork to a wide range of imagery, from systematic mark-making to emblematic figures, landscapes and horses.
FORMAT: Hbk, 9 x 11.75 in. / 84 pgs / 37 color / 18 b&w. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $42 GBP £27.00 ISBN: 9781733796118 PUBLISHER: The Milton Resnick and Pat Passlof Foundation AVAILABLE: 12/17/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: WORLD
Pat Passlof: The Brush Is the Finger of the Brain Paintings 1949–2011
Published by The Milton Resnick and Pat Passlof Foundation. Foreword by Mark di Suvero. Text by Karen Wilkin.
The first full survey of the six-decade career of Pat Passlof, mainstay of New York’s downtown abstract expressionist scene
Pat Passlof (1928–2011) was intimately engaged in the downtown New York painting scene in the 1950s and ’60s, as a painter, a close friend and confidant of de Kooning and many others, and a cofounder of the March Gallery. She was a dedicated, ambitious woman in a male-dominated art world. But what is most impressive, at any time in her long working life, is her sensuous handling of oil paint, her idiosyncratic sense of color and her independence.
This monograph, the most comprehensive survey of her work published to date, brings her career of over 60 years into focus. As art historian Karen Wilkin demonstrates, Passlof’s later works apply abstract expressionist spontaneity and painterly brushwork to a wide range of imagery, from systematic mark-making to emblematic figures, landscapes and horses.
