About the Artist

Marjorie Strider emerged on the New York art scene in the mid-1960’s when her carved and painted wood panels of 3-D girls in bikinis were shown in the Pace Gallery show entitled “The First International Girlie Show”, which also included paintings by Andy Warhol, Roy Lichtenstein, and Tom Wesselman. Strider was friendly with Roy Lichtenstein, Eva Hesse and the Oldenburgs, among others, for whom she made a plaster cast of Patty Oldenburg’s breasts which was later acquired by Sol Lewitt. (A chocolate version of the cast was given to Claes Oldenburg.) At a time when Abstract Expressionism was in full force, Strider, who was educated at the Kansas Art Institute, chose instead to synthesize the color field painters like Mark Rothko, Kenneth Noland and Ellsworth Kelly and to augment this genre with three-dimensionality she called “build outs,” exemplified by huge representational sculptures of vegetables and fruit that formed her first solo show at Pace Gallery. In the seventies, Strider redirected the poured paint of Jackson Pollock and Robert Smithson’s Asphalt Rundown (1969) into site specific installations of urethane foam called Ooze that took place at PS1 (Building Work, 1976), the Clock Tower (Blue Sky, 1976) and later at the Neuberger Museum (1999). By the 1990s Strider integrated her parts, build ups, and attachments in abstract formations called the Marble Dust series, which incorporated collaged cultural and personal icons with painted explorations of thrust and intense color. Through each of these artistic periods, Strider’s work relives the vivid energy of the sixties and regenerates its discourse.

The artist’s oeuvre has been the subject of extensive art critical writings, including a monograph entitled Dramatic Gestures, by Donald Kuspit and Raphel Rubinstein published by Hard Press Editions in 2004. She is the recipient of major grants and fellowships including the National Endowment for the Arts, and Pollock/Krasner Foundation (2009), and her work may be found in public collections including: The Albright-Knox Gallery, Buffalo, New York; The Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC, Indianapolis Museum of Art, Indianapolis, Indiana; McNay Art Museum, San Antonio, Texas; and the Wadsworth Athenaeum, Hartford, CT, among many others.

By Diane Dewey on AskArt.com