LAXART

Unframed.

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 …

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

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”.

Emerging
Represented by up-and-coming galleries.
Selected exhibitions
2018
Ten YearsRachel Uffner Gallery
2017
Molly Zuckerman-Hartung: Learning ArtistRachel Uffner Gallery
2016
Molly Zuckerman-Hartung: That being said, I'm oscillating between Comic Relief and BoundariesMichael Jon & Alan
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Blast in Turkey, 2016

Enamel, latex, and flashe on sewn nylon and cotton
34 × 26 in
86.4 × 66 cm
Bidding closed
LAXART

Unframed.

Over the past couple of years, Zukerman-Hartung has forsaken the brush in favor of the …

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

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”.

Emerging
Represented by up-and-coming galleries.
Selected exhibitions (3)
Other works by Molly Zuckerman-Hartung
Related works
Related artists