One of a handful of beat-generation artists, Deborah Remington (1930-2010), died over ten years ago leaving an extraordinary legacy of paintings, drawings, correspondence and archival documents reflecting her life’s work.
Since then, Margaret Mathews-Berenson, as curator of the artist’s estate and Charitable Trust, has been entrusted with not only caring for the collection but also reviving a somewhat moribund career. She will take us behind the scenes as she explains her responsibilities to the Trust and long-range plans for the artist’s work. Now, with two major solo shows opening for the artist this summer in New York, we will travel virtually to the Bortolami Gallery in Tribeca and Craig Starr Gallery on the Upper East Side to see the artist’s work as we witness her career newly on the rise.
Deborah Remington began her career as a dedicated Abstract Expressionist during the 1950s in San Francisco where she co-founded the first and only “beat” gallery. By 1965, she moved to New York and quickly became part of the city’s burgeoning art scene, exhibiting with a diverse group of artists including Brice Marden and Chuck Close while refining her unique and idiosyncratic hard-edge aesthetic. From the 1990s until her death, Remington reflected on her own failing health and mortality, often re-contextualizing the centrifugal shapes of her 1970s work into splintering, dissolving, bodily structures.
Her work is in numerous museum collections including the Metropolitan Museum of Art, Whitney Museum of American Art, Denver Art Museum, San Francisco Museum of Modern Art and Chicago Art Institute, among others.
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