Lizbeth Marano, Louisa Chase, Jan Hashey, Elizabeth Pardi, Jenny Snider, Guy Goodwin, Mitch Fox, Kristen Huntley, Terry Winters, Moira Dryer, V. Alzamora, Bob Gober by Elizabeth Murray

BOMB 4 Fall 1982
004 Summer Fall 1982

Discover MFA Programs in Art and Writing

Here is a group of artists whose work I find provocative, and who are as yet, with the exception of Louisa Chase, relatively unknown. Not all of these people are painters. Marano and Gober are doing sculpture, Huntley uses bread mold instead of paint, but all think in a very painterly way about their work. All of the younger artists whose work is reproduced here cross the lines between painting and sculpture, and do not seem interested in the old issue of ‘what is it’. They do it and what it is called is up to you.

Winters and Marano are young artists whose work has already achieved a clarity and vision. Winters will show in N.Y. this year. Chase’s work is already known, but has not as yet received much critical attention. Goodwin and Snider have shown in the N.Y. area for years, have made original contributions, but have never received the attention they deserve. Hashey, whose work is known only to her friends, has been doing some fascinating painting for a number of years.

The younger artists here—Gober, Dryer, Alzamora, Fox, Pardi and Huntley are just getting started, but are already creating work that is ambitious and quirky in a way that interests me greatly.

I’m attracted to these artists for a variety of reasons—the clarity and thoughtfulness of Marano’s painted wood sculpture, confounding ideas of 2-d and 3-d spaces—the deeply personal, sometimes goofy and sometimes sad fantasy images of Snider and Chase—the stubborn physicality of Goodwin—the brilliant painting and wonderful shape inventions of Winters.

—Elizabeth Murray

4 Hashey Body

Jan Hashey, Resale, 1982, oil on canvas, 168 × 108 inches. Photo by Y. Minagawa.

4 Snider Body

Jenny Snider, Monday, detail from 7 Days and 7 Nights, 1981–1982, 8 × 10 inches, oil on paper on canvas.

4 Goodwin Body

Guy Goodwin, Heart of the River, 1980–1981, oil on wood, 65 × 69 × 12 inches.

4 Huntley Body

Kristen Huntley, Florida, 1982, bread mold.

4 Marano Body

Lizbeth Marano, Glacial Lean, 1981, painted wood, 36 × 80 × 52 inches.

4 Winters Body

Terry Winters, oil on canvas, 1982.

4 Gober Body

Bob Gober, Untitled, plaster over wire mesh and steel rod. Man, 24 × 24 × 18 inches.

4 Fox Body

Mitch Fox, Chair, 1981, oil, 47⅝ × 48⅜ inches.

4 Dryer Body

Moira Dryer, Untitled, 1982, oil on canvas, 24 × 24 inches.

4 Pardi Body

Elizabeth Pardi, Untitled, oil on canvas, 54 × 90 inches.

4 Alzamora Body

V. Alzamora, Untitled, oil on canvas, 47 × 64 inches.

4 Chase Body

Louisa Chase, Snowstorm, 1982, oil on canvas, 84 × 108 inches. Photo courtesy of Robert Miller Gallery. Photo by eeva-inkeri.

Elizabeth Murray by Jessica Hagedorn
Murray 03 Body
Sitting with Discomfort: Christina Quarles Interviewed by Jareh Das
A colorful swirl of female bodies in a mix of figuration and abstraction titled,  For a Flaw / For a Fall / For the End, Christina Quarles

Paintings and installations that unfix the body.

The Ongoing Present Moment of Making: Jule Korneffel Interviewed by Hannah Bruckmüller
Blue yellow and red circles at the bottom of a pink painting titled, Honey Sugar Pop, by Jule Korneffel

Mark-making as internal landscaping.

Back to the Cave: Tracy Thomason Interviewed by Emily Kiacz
Three small colorful abstract paintings on a white gallery wall titled, Tracy Thomason: White Rabbit, Marinaro, New York

Paintings that embody a love of materials.

Originally published in

BOMB 4, Fall 1982

Georgia Marsh, Paul Bowles, Michael McClard, Olivier Mosset & Fred Brathwaite, and Duncan Hannah. Cover by Mary Heilmann.

Read the issue
004 Summer Fall 1982