ROSEMARIE CASTORO wasn’t precious about her work. As a dancer, painter, sculptor, and writer, she reveled in art’s material activation on the staging ground of the city street, the journal page, or her SoHo studio, where she lived for more than fifty years.
-Prudence Peiffer, ARTFORUM, 2016 (full article here)
Castoro’s continuous activity focuses on the line as a formal solution. Although sexual in its drive, her work is too fast to be sensuous, too controlled to release all of its energy; it exists in a state of extremely structured tension, its momentum expressed with great physical intelligence by implied projection of the body into space.
-Lucy Lippard, ARTFORUM, 1975
Rosemarie Castoro (1939 - 2015) established herself in the late 60s as one of the few well-recognized female painters among the New York Minimalists. Her friends and peers included Eva Hesse, Ree Morton and Hannah Wilke. Like them, Castoro was often over-shadowed by men, including her then-husband Carl Andre, and their friends Sol Lewitt, Frank Stella, Mark di Suvero and Robert Smithson. As that shadow has lifted, the pioneering work of Rosemarie Castoro and other women of her generation has gained renewed attention.
Born in Brooklyn and a graduate of Pratt Institute, Castoro’s works have been seen in more than fifty solo exhibitions since 1971. Her work has been exhibited in hundreds of group exhibitions and is included in numerous public and corporate collections including MoMA; The Newark Museum; University Art Museum, Berkeley; Boca Raton Museum, FL; Goldman Sachs; Bank of America; Greenwich Library; J.P. Morgan Private Bank: Chase; Merrill Lynch; Lintas/World Wide; Centre National Des Arts Plastiques, Paris, France; General Services Administration, Washington, DC, Anderson Gallery, Univ. of Buffalo, and others.