Jasmina Danowski (b. 1960), "Linger in a River for Two," Linger in a River for Two, 2007, ink on paper, 108 x 60 in.
Lisa N. Peters
On July 20, we reported that an exhibition of the vivid abstract works by Jasmina Danowski was the first to be held at the newly renovated Downtown Art Gallery at Westfield State University, Massachusetts. (The show was also part of the Masters Festival of the Arts, an eight-week event sponsored by the Westfield State College Foundation.) The large multi-layered abstractions, in ink and gesso on paper and oil and alkyd on panel, looked completely at home in the high-ceilinged, sunlit space. Now, one will be lingering indefinitely, as the appropriately named Linger in a River for Two, nine by five feet, has become part of Westfield’s permanent collection.
The installation ceremony was attended by Nanci Salvidio, executive assistant to the president and associate vice president, Advancement and University Relations, Westfield State University president Evan S. Dobelle, representatives of the class of 1955 and Bob Plasse, assistant to the president, Communications.
In 1977, Helene Aylon, friend of Betty Parsons, interviewed the then seventy-seven year old artist; the interview appeared that same year in Woman Art Magazine.
This interview, of which an excerpt is posted below, includes conversation between Parsons and Aylon which touches on everything from the artist’s relationship with other female artists to her views on Abstract Expressionism (and many topics in between).
This is an enlightening, empowering interview—and certainly well worth a read!
Read the full interview on our website.
HA: You knew Martha Graham, Marlene Dietrich, and after all, you played tennis with Greta Garbo!
BP: Two or three times. Interesting the way I met her. I was asked on Christmas Eve by her ghost writer, Salka Fiertel. She said, “Come over and we are going to dress the tree.” I got there and Salka said, “go up to the attic and bring down a great big box of Christmas dressings…” So I went up there, and Greta and I stared at each other over the top of the box.
Charlotte Park (b. 1918), "Zachary," ca. 1950s-60s Oil on canvas, 36 x 47 inches
Lisa N. Peters
Of the more than 130 international exhibitors at the Fifteenth Annual Los Angeles Art Show, on view January 20-24, 2010, Spanierman Modern’s exhibition of the dynamic abstract paintings of Charlotte Park was one of few displays that caught the eye of Christopher Knight, art critic for the Los Angeles Times. In a blog post on January 22, Knight described the quality of the fair as “disappointingly low,” but noted that “if you poke around you can find some things to like.” Of the five examples Knight gave, four were individual works: an abstraction from 1968 by Robert Mangold’, an installation by Meeson Pae Yang, a video by Pablo Uribe from “guest country” Uruguay, and a painting by Henrietta Shore. The only exhibition mentioned by Knight was that of Park of whom he wrote:
Charlotte Park (b. 1918), a little-known Abstract Expressionist painter from New York, has been enjoying a resurgence of interest in her works of the 1940s, ’50s and ’60s. A large selection of muscular, often chromatically brilliant paintings on canvas and paper show why. (Spanierman Modern) Continue reading