Molly Zuckerman-Hartung is known to push the boundaries of traditional two-dimensional painting with abstract sculptural works that embrace collage, incorporate found objects, and entail cutting, weaving, layering, and scraping. Some works can hardly be classified as painting at all, as in Scalps in French (2011), whose old paintbrushes and string stick through a sheet of Plexiglas, jutting out at a right angle from a thickly painted canvas that holds an imperfect golden circle against a white background. New York Times critic Roberta Smith has aligned Zuckerman-Hartung’s works, which frequently carry reproductions of works by iconic artists like Leonardo da Vinci and Donald Judd, with the tradition of Robert Rauschenberg’s “Combines”.
Molly Zuckerman-Hartung is known to push the boundaries of traditional two-dimensional painting with abstract sculptural works that embrace collage, incorporate found objects, and entail cutting, weaving, layering, and scraping. Some works can hardly be classified as painting at all, as in Scalps in French (2011), whose old paintbrushes and string stick through a sheet of Plexiglas, jutting out at a right angle from a thickly painted canvas that holds an imperfect golden circle against a white background. New York Times critic Roberta Smith has aligned Zuckerman-Hartung’s works, which frequently carry reproductions of works by iconic artists like Leonardo da Vinci and Donald Judd, with the tradition of Robert Rauschenberg’s “Combines”.
