Rachel Federman's blog

Miriam Schapiro's Rondo: Let's Dance

Dancing figure in long dress surrounded by bright orange, red, green, and blue.

During the 2021 winter holiday season, the Morgan received as a gift Rondo, a group of twenty-four collages by feminist-art pioneer Miriam Schapiro (American, born in Canada, 1923–2015). The donors, Peter and Kirsten Bedford, commissioned them in 1988 for a series of clothbound artists’ books published under their San Francisco imprint, Bedford Arts.

Slow Art: Helène Aylon

Helène Aylon’s mature career began in the late 1960s, when she was nearly forty years old and already a widow raising two children. In 1977 and ‘78, she was among ten women interviewed by the writer Gloria Frym for a volume called Second Stories: Conversations with Women Whose Artistic Careers Began After Thirty-Five.

Shiva Ahmadi's Tower

My attraction to Shiva Ahmadi’s Tower (2017) was immediate, but it is a challenging work in both its content and execution. In discussing it, I find it helpful to speak in terms of dualities: seduction and repulsion, translucency and opacity, chaos and control, background and foreground. Ahmadi has done this herself in quotations like the one above.

Rick Barton: A Curatorial Serial, Part IV–Conclusion

In early 2018, I received the welcome news that UCLA Library Special Collections would consider lending drawings by Rick Barton to an exhibition at the Morgan. Moreover, more than 600 drawings that had not been located at the time of my visit were now available to view. My next opportunity to travel to Los Angeles would not arrive until October of that year. But in the interim, I made a number of crucial discoveries.

Rick Barton: A Curatorial Serial, Part III

In the early days of 2018, I arrived in Los Angeles with appointments to see Henry Evans’s Peregrine Press papers at the Clark Memorial Library and a cache of over 700 drawings by Rick Barton at UCLA Library Special Collections. Although I had been assured that the drawings would be available, I worried that something might go wrong or that the drawings would not have been worth the trip.

Rick Barton: A Curatorial Serial, Part I

Exhibitions are often multiyear projects. With a monographic exhibition—one that focuses on a single artist—the subject, even when not alive, can come to feel like a significant presence in the life of a curator. As someone who has focused on artists who came to prominence in the second half of the increasingly historical twentieth century, I have been fortunate to “get to know” some of the late artists I have worked on, not only through research in libraries and archives, but also through conversations with the artists’ familes, friends, and acquaintances.