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To celebrate the book's publication, we asked our staff to get artsy and craft their interpretations of major paintings from this canon-defining period. We were not disappointed with the results. We're showcasing the staff submissions below with examinations of the original pieces from the book and statements from our staff artists on how they connected with the pieces they emulated. Here's a video overview of all the submissions from our staff:
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| Left: Joyce Lewandowski, untitled collage Right: Toni LaSelle, Study for Puritan, 1947-1950 |
Artist Statement: "My entry was a Lance Letscher inspired collage using scissors, paper, and glue―brought on by a 50+ year delayed reaction to skipping kindergarten."
—Joyce Lewandowski
From the book: The study for Puritan (1947) indicates the labored premeditation LaSelle undertook. The study, with its slightly less complicated design and more horizontal format, is harder edged. The final Puritan remains geometric but painterly, with forms fluctuating between floating and receding planes. Although looking nothing like Hofmann’s work, it achieves the German painter’s famed “push-pull,” which generates dynamism.
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| Left: Bailey Morrison, untitled collage Right: Marjorie Johnson, Still Life with Grapes, 1951 |
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Regina Fuentes and Sharon Casteel, In the Press Yoga Car
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