Still Life, Myths and Mountains, A Retrospective Curated by Jason Andrew Organized by Sundaram Tagore Gallery in collaboration with Norte Maar
Gallery Mission Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.
Sundaram Tagore Gallery is pleased to announce a landmark retrospective of work by Edith Schloss (1919-2011), one of America’s great expatriate artists whose paintings, assemblages, collages, watercolors and drawings border on the bittersweet, fragile, intimate and naive. Intrinsically linked to the milieu of postwar American art, every aspect of the artist’s eccentric personal iconography will be on view. This is the first show of the artist’s work in New York in twenty-five years. Curated by Jason Andrew and organized in collaboration with the Brooklyn-based nonprofit arts organization Norte Maar, this exhibition represents the most comprehensive showing of the artist’s work, offering examples from throughout her career beginning with still lifes of the 1950s and scenes of Penobscot Bay in Maine, to seascapes from her beloved studio in Lerici, Italy, and to the mythological abstractions she painted up until her death.
The exhibition also includes a gallery dedicated to Schloss’s friends and acquaintances, with work by Ellen Auerbach, Nell Blaine, Rudy Burckhardt, Joseph Cornell, Alberto Giacometti, Willem de Kooning, Helen DeMott, Rackstraw Downes, Philip Pearlstein, Yvonne Jacquette, Fairfield Porter, Robert Rauschenberg, Larry Rivers, Cy Twombly, Jack Tworkov and Francesca Woodman among others. Additionally a selection of ephemera including letters, photographs and diaries from the Edith Schloss Estate archive will be on view. Art is a nourishment which is made from the fabric of our daily life but lifts us beyond it to make us see a world bigger than ourselves. —Edith Schloss, La Serra, 1976
Left: Edith Schloss in the Bay of Lerici, 1983. Courtesy Estate of Edith Schloss, New York
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About Edith Schloss Edith Schloss is best known for knowing “everyone who counted in Manhattan’s legendary postwar art scene.” From the moment she was first introduced to Willem de Kooning by her friend Fairfield Porter, she became an integral member of the Chelsea-New York art scene, which flourished around the New York School and included photographer and filmmaker Rudy Burckhardt (whom she married in 1947) and the Jane Street Group around Nell Blaine. Born in Offenbach, Germany, Schloss studied languages and art as a young student. In Florence she learned about the Renaissance and in Frankfurt she saw her first Van Gogh. In London, while working as an au pair, she learned English and was inspired by the great Greek sculptures at the British Museum, which also reinforced her dream to become an archaeologist. During the London Blitz, Schloss sailed to America in a convoy. Arriving in New York she met the political refugee Heinz Langerhans, who introduced her to Bertolt Brecht, prominent Communist Ruth Fischer and others. She listened to lectures by American pragmatists such as John Dewey at The Cooper Union and other great thinkers at The New School for Social Research. There never seemed to be a moment when she didn’t consider herself an artist. “Somehow I always drew, made pictures,” she wrote. From 1942 to 1946, she studied at the Art Students League of New York with Will Barnet, Harry Sternberg and Morris Kantor.
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In 1945 Schloss met Willem de Kooning through painter Fairfield Porter. It was a turning point. In turn she met the poet Edwin Denby, the photographers Ellen and Walter Auerbach and the filmmaker Rudy Burchkhardt. Elaine de Kooning became a staunch ally. “I happily absorbed the Chelsea climate apart from politics,” she wrote, “and I’ve settled down to paint for painting.” And she settled into loft living on West 21st Street. Around the same time Schloss met painter Nell Blaine. Together they spent “long winter nights listening to bebop records” and raced uptown and downtown “listening to Dizzy Gillespie, Charlie Parker, Lester Young and Miles Davis in person.” Schloss liked jazz for its “intuitive purity and improvisation”, qualities that became important elements in her maturing work. She joined the Jane Street Group, New York’s first artist cooperative gallery founded by Blaine, Hyde Solomon, Leland Bell, Louisa Matthiasdottir, Albert Kresch and Judith Rothschild. In 1947, her first one-person show opened at the Ashby Gallery. In 1947, Schloss married Rudy Burckhardt and the couple set off to tour Europe where they met Jean Arp, Meret Oppenheim, and briefly Giacometti, Brancusi and Max Bill. Upon their return to New York, she exhibited with the Pyramid Group and American Abstract Artists. Summers were spent with Fairfield Porter and his family on Great Spruce Head Island, Maine. This retrospective includes watercolors exploring the summers on the bays and shores of Maine.
In 1949, her son, Jacob, was born. One of the first paintings in the retrospective, Egg Eater (c. 1952), features a bird’seye view of a young Jacob standing before a breakfast table set with a scattering of white antique dishes including a bowl of fruit. It’s a naive painting with historical references yet the versatility of the composition demonstrates modern, avantgarde ideas. As Abstract Expressionism took hold in New York and action painting grew more dogmatic, Schloss set aside her figurative intentions and turned to collage and assemblage “because it was in an avant-garde technique it was considered alright by the abstractionists.” Assemblage bridged her interest in writing and art and for a time, she become better known for her boxes than for her paintings. In 1961, she was included in The Museum of Modern Art’s landmark exhibition The Art of Assemblage. These boxes housed the precious things she found on beaches and on walks through the city. Sailor or Countryman (1962) is a small cupboard containing rocks, a wood carving of a boat, and a sea horse. Night Voyage: Homage to Joseph Cornell (c. 1962) is the perfect tribute to Edith’s friend, complete with a collaged gallery label from Cornell’s exhibition at the Charles Egan Gallery in the early 1950s.
In 1962, with her marriage to Rudy growing strained, she left for Italy with the intent of staying three months. She stayed for a lifetime. There she met Giorgio Morandi in his summer home in the mountains above Bologna. Cy Twombly became a neighbor and close friend and the American experimental composer Alvin Curran became her lover. She drew inspiration from Etruria and Magna Graecia and later the caves of the Sahara. In 1964, she opened her first exhibition at the Galleria Aleph in Rome, followed by many others throughout Italy over the years. Schloss’s passion for the paintbrush was only matched by her passion for the pen. As she settled into her new life in Rome, she returned to writing art criticism (during the 1950s she was an editorial assistant at ArtNews). She became the leading cultural voice in Italy as art editor for the International Herald Tribune from 1968 to 1986. Later she wrote regularly for Wanted in Rome. Her keen eye, not only for the historic but also the contemporary, led her to be one of the first to write about Jean-Michel Basquiat and Francesca Woodman, among others. In addition to her critical writings, she published books of her poetry, authored and illustrated children’s books, and created set designs and record covers for Alvin Curran.
The experience of New York, Rome and the Mediterranean offered Schloss a wide range of stimuli and inspiration. Yet, Over the years she exhibited in New York at the Tanager Gallery, over time her work grew more and more focused on the Green Mountain Gallery and Ingber Gallery. intimate and the sublime. She sought the “quiet and balance in
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still lifes of homespun objects lined up against the pageant of the sea.” In Untitled with Clay Pigeon (1972), Schloss lays out her collectibles among vases, flowers and a teapot like a good archaeologist. She includes a clay pigeon she picked up at the Porta Portese market in Rome. “I have come to something of my own, I think. I begin with a still life but use it for something else.” In the late 1970s, Schloss introduced a figure, a single diver based on one in a tomb in Paestum. “I added swimmers, falling or striving bodies, somehow playing the myths of pursuits and surrender.” These figures gave Schloss an enhanced narrative and she painted them as lovers, warriors, heroes and gods. They became the trademark of her late work. Agon (2000), Eros: Elio + Helios (2001), Danae (2008) are all gestural paintings celebrated for their myth, their vitality and their spontaneity. “They tell of giving death and making life.” Leda (2011) is the first painting from the last series Edith painted before she died. Schloss’s work can be found in prominent private collections in New York, London, Paris, Berlin, Frankfurt, Tokyo, Sydney, Rome, Milan, Ferrara and La Spezia. Her work is represented in the public collections of The Metropolitan Museum of Art, New York; the Keats-Shelley House, Rome; and the Hessisches Landesmuseum, Wiesbaden and the Offenbacher Stadtmuseum, Offenbach, Germany, to name a few.
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Edith Schloss: Still Life, Myths, and Mountains includes a gallery dedicated to her milieu. Near the end of her life she created a list she called “The famous people whose hand my little hand has touched.� On view will be works by: Marina Adams Ellen Auerbach Will Barnet Nell Blaine Janice Biala Daniel Brustlein Jacob Burckhardt Rudy Burckhardt Tom Burckhardt Joseph Cornell Willem de Kooning Elaine de Kooning Helen DeMott Lois Dodd Rackstraw Downes Hermine Ford
Alberto Giacometti Mimi Gross Yvonne Jacquette Robert Moskowitz Philip Pearlstein Fairfield Porter Robert Rauschenberg Milton Resnick Larry Rivers Peter Rockwell Cy Twombly Jack Tworkov Lucia Vernarelli Stanley Whitney Francesca Woodman
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Assisi, 1947, watercolor on paper, 8 x 12 inch/20.3 x 30.5 cm 12
Florence, 1947, watercolor and ink on paper, 8 x 12 inch/20.3 x 30.5 cm 13
Paris, 1947, watercolor on paper, 4.5 x 6.5 inch/11.4 x 16.5 cm 14
Sienna, Porta San Viene, 1947, watercolor on paper, 6.5 x 11.4 inch/16.5 x 29 cm 15
Untitled (The Vase), 1948, watercolor and graphite on paper, 11.75 x 8.6 inches/29.8 x 21.8 cm
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Great Spruce Head, 1949, oil on panel, 18 x 20.6 inches/45.7 x 52.3 cm
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Games, 1947, oil on panel, 11.9 x 22.5 inches/30 x 57.1 cm
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Egg Eater, 1950, oil on canvas, 20 x 14 inches/50.8 x 35.5 cm
Still Life, 1951, oil on canvas, 16 x 19.9 inches/40.6 x 50.5 cm
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Untitled (West Window, Red Cup), 1957, oil on canvas, 20 x 17.2 inches/50.8 x 43.7 cm 24
West Window: Deer Isle, 1957, oil on canvas, 18.5 x 16.6 inches/47 x 42.1 cm 25
The Ideal Fairmount, 1958, watercolor on paper, 10 x 9 inches/25.4 x 22.9 cm 26
Untitled (Still Life with Peacock Feather), 1958, graphite and watercolor on paper, 10 x 9 inches/25.4 x 22.9 cm 27
Mykonos, 1963, watercolor on paper, 10.6 x 14.5 inches/27 x 36.8 cm
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White Lamp and Tellaro, 1964, oil on canvas, 18.5 x 20 inches/47 x 50.8 cm 30
Mont Amiata, 1965, watercolor on paper, 15 x 19 inches/38.1 x 48.2 cm 31
Air Mail, 1966, oil on canvas, 23.75 x 19.75 inches/60.3 x 50.2 cm
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Serra, 1966, watercolor on paper, 12.2 x 16.25 inches/31 x 41.25 cm
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Untitled (Isola del Tino), 1966, oil on canvas, 19.7 x 23.6 inches/50 x 60 cm 36
Rustic Pitcher, 1967, oil on canvas, 19.6 x 15.75 inches/49.75 x 40 cm 37
Green, Green, 1968, oil on canvas, 15.75 x 19.6 inches/40 x 49.8 cm
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March 11, 1968, watercolor on paper, 9.8 x 13.25 inches/24.9 x 33.6 cm 40
May with Stripes, 1968, oil on canvas, 33.5 x 31 inches/85.1 x 78.75 cm 41
Back from Matisse, 1969, oil on canvas, 25 x 17 inches/63.5 x 43.2 cm
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January, 1969, watercolor on paper, 14.5 x 10.5 inches/36.8 x 26.7 cm 44
Spring Rain and the Black Bird in the Cypress Tree, 1970, oil on canvas, 26.75 x 34.25 inches/68 x 87 cm 45
Jacob’s Ladder, 1971, oil on canvas, 42.5 x 39.25 inches/108 x 99.7 cm 46
November 20, 1971, oil on canvas, 25.5 x 30.75 inches/64.8 x 78.1 cm 47
May, 1972, oil on canvas, 9 x 12 inches/22.9 x 30.5 cm 48
Robin, 1972, oil on canvas, 21.75 x 23.5 inches/55.3 x 59.7 cm 49
Untitled (Pot and Pigeon), 1972, oil on canvas, 19.75 x 23.6 inches/50.2 x 60 cm
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Untitled (Round Window), 1972, oil on canvas, 10.3 x 10 inches/26.2 x 25.4 cm 52
Untitled (Still Life with Teapot and Pigeon), 1972, oil on canvas, 27.5 x 26.75 inches/69.9 x 68 cm 53
Light House, 1970, oil on canvas, 31.3 x 19.75 inches/79.5 x 50.2 cm
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Untitled (Pink Star), 1973, oil on canvas, 31.6 x 35.6 inches/80.3 x 90.4 cm
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Under Red Sun, 1973, oil on canvas, 19.5 x 22.5 inches/49.5 x 57.2 cm 58
May!, 1974, oil on canvas, 15.75 x 9.75 inches/40 x 24.8 cm 59
On the Ledge, 1976, oil on canvas, 19.75 x 25.5 inches/50.2 x 64.8 cm
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By the Wave, 1978, oil on canvas, 19.75 x 21.25 inches/50.2 x 54 cm 62
New York Window, 1979, watercolor on paper, 14.25 x 10.6 inches/36.2 x 27 cm 63
Untitled (Isola del Tino), 1979, watercolor on paper, 21.75 x 18.2 inches/55.2 x 46.2 cm 64
The Walk, 1980, oil on canvas, 27.5 x 25.5 inches/69.9 x 64.8 cm 65
Big Cloud, 1980–83, oil on canvas, 27.5 x 22.6 inches/69.9 x 57.4 cm
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Untitled (Diana and Aceton), 1988, oil on canvas, 23.6 x 17.75 inches/60 x 45 cm
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Orgies, 1992, ink on paper, 13.75 x 39.25 inches/35 x 99.7 cm 70
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Untitled (The Blue Apuan), 1993, oil on canvas, 25.6 x 17.75 inches/65 x 45 cm 72
Untitled (Of Myth and Gods), 1995, oil with crayon on canvas, 37.5 x 33.5 inches/95.25 x 85 cm 73
Agon, 2000, oil on canvas, 27.5 x 23.6 inches/69.9 x 60 cm
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Eos: Elio + Helios (via Umbria), 2001, oil on canvas, 23.6 x 31.5 inches/60 x 80 cm
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Sestola, 2002, watercolor on paper, 11.25 x 15 inches/28.6 x 38.1 cm 78
To Mycenes, 2002, oil on canvas, 31.5 x 31.5 inches/80 x 80 cm 79
Danae, 2008, oil on canvas, 19.75 x 21.5 inches/50.2 x 54.6 cm 80
First Leda, 2011, oil with charcoal on canvas, 23.6 x 23.6 inches/59.9 x 59.9 cm 81
Leda Series No. X: Too Much!, 2011, ink on paper, 15 x 7 inches/38.1 x 17.8 cm
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Painted Song No. 13: Clouding Over, 2011, watercolor, ink and graphite on paper, 19.3 x 27 inches/49 x 68.6 cm
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S U N D A R A M TA G O R E G A L L E R I E S new york new york hong kong singapore
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President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Designer: Russell Whitehead
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Art consultants: Teresa Kelley Bonnie B. Lee Gabrielle Mattox Deborah Moreau Raj Sen Melanie Taylor David Turchin Addison Ying
Text © 2015 Sundaram Tagore Gallery Photographs © 2015 Edith Schoss All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Cover: November 20 (detail), 1971, oil on canvas, 25.5 x 30.75 inches/64.8 x 78 cm