A Question of Emphasis: Louise Fishman Drawing


Two pages of an artist book by abstract artist Louise Fishman. On the left side, a grey textured rectangle with dark charcoal at center; vertically overlaid with white paint/collage. On right, a similar composition made of bent aluminum and wire on paper.
Louise Fishman, detail from Book of Abuse, 1993–94. Acrylic, oil, oil stick, graphite, staples, and wire with aluminum and paper collage on paper; Japanese Leporello Binding. 6-3/8 x 3-5/8 x 1-5/8 inches. Courtesy of the artist © Louise Fishman


Abstract acylic painting by Louise Fishman. Ground is white paper; figure is black that has been painted lightly enough that the lined texture of the paper shows through in places. Thickly painted areas look densely black.
Louise Fishman, Untitled, 2005. Acrylic on paper. 30-3/8 x 38 inches. Courtesy of the artist. © Louise Fishman


Charcoal drawing of a man in underwear, looking down, facing the viewer, on cream-colored paper. Outline of centered, standing figure is densely black; shaded areas show paper texture.
Louise Fishman, Untitled, 1980. Charcoal on paper. 25-1/4 x 19 inches. Courtesy of the artist. © Louise Fishman


Abstract acrylic painting with areas of dense black around the edges; dark blue, white, and red amid a chaotic, but grid-based composition. Areas of white paper show through at center and lower edge.
Louise Fishman, The Farm, 2016. Acrylic on paper. 18 x 24 inches. Courtesy of the artist. © Louise Fishman


On view
Aug 26, 2021 to Feb 26, 2022
Main Level, East Gallery

Louise Fishman (United States, b.1939) is an established artist known for her ambivalent engagement with male-centered abstract painting traditions. Her physical and process- driven work remakes the abstract expressionist gesture and the minimalist grid into tools that communicate history and emotion centered in her identities as Jewish, feminist, and lesbian.

A Question of Emphasis: Louise Fishman Drawing is the first career spanning exhibition and publication of Fishman’s works on paper from 1964 to the present. The project includes more than 100 works from the artist’s archive that have rarely been exhibited alongside significant institutional and private loans. Citing John Cage’s response in 1965 to the question, “what is drawing?” A Question of Emphasis encompasses collage, oil and wax, thread, acrylic text, ink, charcoal, printmaking, oil stick, watercolor, and tempera in Japanese-bound Leporello (accordion) books. This full range of mediums foregrounds Fishman’s robust and dedicated practice of works on paper, which have never been studies for her large canvases. Instead, Fishman has used drawing to think through physicality, materials, and intimacy on a different register: generally small- and medium- scale, often sculptural and tactile, and aligned to her particular historical contexts and her communities.

A Question of Emphasis examines the relationship between artist’s biography and drawing through feminist and queer perspectives. Fishman’s drawings are distinctive within her full oeuvre because many are dedicated to lovers—an illustrious network of lesbian writers, scholars, and critics that include Bertha Harris, Esther Newton, and Ingrid Nyeboe, Fishman’s spouse and longtime partner of the late critic and writer Jill Johnston. Fishman’s works on paper also honor the artist’s greatest teachers—Paul Cézanne, Piet Mondrian, Franz Kline, John Cage, Eva Hesse, and Agnes Martin among them. Some works are collaborative, including prints Fishman made using her artist mother’s collagraphic plates, and her Angry Women acrylic text series made for friends and muses during periods of feminist consciousness raising in the 1970s (Fishman was a member of the activist groups Redstockings and Women’s International Terrorist Conspiracy from Hell [W.I.T.C.H.] and editor of the Heresies journal issue on lesbian art and artists).

Drawing is often perceived as a window to an artist’s interiority and a spontaneous activity that happens more readily than painting on canvas. This project is a curatorial experiment that instead follows Fishman’s lead, through drawing, to convene a community of living and historical figures that are integral to the construction of self. While centered on the artist’s hand, Fishman’s works on paper are in fact radically open and give audiences a strong perspective of artmaking as a world-making project. The exhibition catalogue published by KAM with Lucia | Marquand and distributed by D.A.P. features newly commissioned essays by KAM curator Amy L. Powell, scholars and artists Jill H. Casid and Catherine Lord, and a conversation between Fishman and artist Ulrike Müller.

Curated by Amy L. Powell, curator of Modern and Contemporary Art

Lead exhibition support is provided by the Henry Luce Foundation American Art Program. Additional support provided by the College of Fine and Applied Arts and Sueyun Locks, The Locks Foundation

The exhibition is available for travel starting in Spring/Summer 2022. For more information or a prospectus, please email the curator Amy L. Powell or Museum Director Jon L. Seydl.

Kinkead Pavilion entrance photographed at sunset. Hive, two lighted sculptures, fill the space symmetrically. Each is pink with a conical structure built of stacked inflated orbs with a long braid that reaches ceiling to floor.
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Image of a gallery with home furnishings, colored lights, and a painted "Art Studio" sign. Two Black women sit a table beneath the sign to welcome young people to the gallery for studio art days.
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gallery view of entry wall of Art Since 1948 with the exhibition title text and art from the museum's modern and contemporary collection.
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Hand colored photograph of a young girl looking at the camera. The background is a deep blue with shades of lighter color. The girl's face is serious.
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