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Narozen(a) v Buffalo, United States of America
A Life Bridged Between Worlds: The Art of Susan Rothenberg
Susan Rothenberg, born in Buffalo, New York, in 1945, emerged as a pivotal figure in the American art landscape during a period defined by the ascendance of Minimalism and Conceptualism. Yet, her work defied easy categorization, forging a unique path that reintroduced figuration and emotional resonance into a scene often perceived as intellectually austere. Rothenberg’s artistic journey is one of constant evolution, marked by a willingness to challenge conventions and explore the complex interplay between abstraction and representation, personal experience and universal themes. Her early life in Buffalo instilled within her a quiet observation of the world, an attentiveness that would later translate into the deeply felt imagery characterizing her oeuvre. After receiving a Bachelor of Fine Arts degree from Cornell University in 1965, she continued her studies at George Washington University and the Corcoran Museum School in Washington D.C., before ultimately finding herself drawn to the vibrant artistic community of New York City in 1969.
The Iconic Horses: A Reintroduction of Form
It was in the early 1970s that Rothenberg truly established her reputation, captivating the New York art world with her large-scale acrylic paintings of horses. These were not depictions of majestic steeds in heroic poses; rather, they were fragmented, ghostly apparitions—monochromatic forms suspended in ambiguous spaces. The impact was immediate and profound. Critic Peter Schjeldahl famously hailed her 1975 debut at the 112 Greene Street gallery as a “eureka” moment, recognizing it as an audacious gesture that reintroduced imagery into minimalist abstraction while simultaneously imbuing figuration with newfound sensitivity. These horses weren’t simply painted; they were evoked—felt presences born from memory and emotion. The sheer scale of the canvases asserted Rothenberg's ambition, demanding attention and challenging viewers to confront a form both familiar and utterly transformed. The repetitive qualities within these works hinted at minimalism, yet their loose rendering echoed the expressive brushwork of Abstract Expressionism and Color Field painting, creating a compelling synthesis of seemingly disparate styles. The horse itself became a potent symbol—a creature embodying power, freedom, and vulnerability—rendered with an ethereal quality that spoke to the fragility of existence.
Beyond the Horse: Expanding Artistic Horizons
As Rothenberg’s career progressed, her artistic explorations broadened beyond the iconic equine form. By the early 1980s, she began focusing on disembodied heads and body parts, fragments of figures hinting at narratives left untold. This period marked a shift towards greater complexity and symbolism in her work, as she delved into themes of identity, memory, and the human condition. By the end of the decade, her paintings were brimming with color and movement, reflecting a growing interest in exploring the expressive potential of paint itself. A pivotal moment arrived with her move to a ranch near Galisteo, New Mexico, in mid-career. The vastness and stark beauty of the Southwestern landscape profoundly influenced her artistic vision, infusing her canvases with a vibrant palette and a sense of expansive space. Inspired by personal experiences—a riding accident, a near-fatal bee sting—she began to translate “the memory of observed and experienced events” into powerfully evocative imagery. Oil paint became her favored medium, allowing for the thickly layered, energetic brushwork that defines much of her later work. Comparisons to Georgia O’Keeffe inevitably arose, though Rothenberg herself has emphasized their distinct artistic energies, asserting a more aggressive quality in her own paintings.
Drawing as Evocation and Legacy
While celebrated primarily as a painter, Susan Rothenberg also made significant contributions to the medium of drawing. Her drawings are not merely preparatory sketches but stand on their own as compelling works of art—evocative explorations of form, line, and texture. As Robert Storrs observed, her approach to drawing is fundamentally about “evocation,” identifying the essential qualities of things and transposing them onto paper without losing their inherent essence. Throughout her career, Rothenberg’s work has been recognized through numerous solo exhibitions across the United States and abroad. A major survey initiated by the Los Angeles County Museum of Art in 1983-1985 traveled to prominent institutions including the San Francisco Museum of Modern Art, the Carnegie Institute, and the Tate Gallery in London. Later retrospectives at the Albright-Knox Art Gallery in Buffalo (1992–1994) and the Museo de Arte Contemporáneo in Monterrey, Mexico (1996), further cemented her place as a leading figure in contemporary art. Her 1976 work, Butterfly, was even displayed in the Treaty Room of the White House during the Obama administration—a testament to its enduring cultural significance. Susan Rothenberg’s legacy lies not only in her distinctive visual language but also in her unwavering commitment to artistic independence and her ability to bridge seemingly opposing forces—abstraction and figuration, emotion and intellect, personal experience and universal themes—creating a body of work that continues to resonate with audiences today.
