Molly Zuckerman-Hartung, ‘Blast in Turkey’, 2016, LAXART


Over the past couple of years, Zukerman-Hartung has forsaken the brush in favor of the sewing machine and the direct pouring of paint. The results are playfully garish assemblages in which the paint becomes a physical component equal in weight to other elements including the quilted swatches of brightly colored fabric that serve as the painting’s ground. Visually, the painting is an unabashed burst of joy, a sentiment that is echoed literally by the fragment of a burst balloon and figuratively by the work’s title which was taken from a newspaper headline given to a tragic terrorist attack. Courtesy of the artist.

Image rights: Courtesy of the artist and Corbett vs. Dempsey

About Molly Zuckerman-Hartung

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”.

American, b. 1975