Thanks Rona for this terrific introduction to Marisol, an artist I didn't know. Her work has both depth and wit. And I loved this quote you cited: "If you call my work folk art, it is only because you are prejudiced against my South American background. Folk you.”
I feel like I knew about Marisol but forgot her. Thanks for bringing her back to my forefront! I was fortunate to be surrounded by all types of art growing up and have parents who bought and spoke about art even though we didn’t have much money.
I didn't want to glorify him. Turns out he doesn't need any help from me. Andrew Hacker is still a prominent public intellectual, according to Wikipedia. His wife, and co-author of one of his books, is Claudia Dreifus, a science writer for the NYT. So I guess it wasn't too egregious after all that her professors emboldened her.
Thank you for introducing me to Morisol, Rona! She is fascinating. It's sad to me that women artists and writers have had to make the choice between home/family and independence. Yet, those who rejected the norm are often viewed as lonely "cat laddies" when they obviously weren't. I'd love to learn more about how women have carved out alternatives to domesticity under patriarchy and found love and family on their own terms. Alas, we know too little about the private lives of women of the past.
Anne, have you read NINTH STREET WOMEN, about the women of abstract expressionism? It’s riveting, almost novelistic. We know a fair bit about the private lives of some pioneering women. Marisol somehow ensured that her own intimate life was a mystery. For quite a few others, passion and struggle were part of the persona.
Hi Anne, you should take a virtual poke around the Kattenkabinet (Cat Art Museum) in Amsterdam---ironic that there are no lonely cat ladies listed as artists---it's male-dominated! https://kattenkabinet.nl/en/over/
thanks, Rona, for introducing me to Marisol. Being an Art Historian myself, I did come across her work briefly during a discussion with a friend, who runs an Art gallery in London. Neither Marisol nor her art appealed to me at the time, which is in fact, one of the raison d'etre of Art. Not only it arises different emotions -including indifference- in each of us, but also those emotions can vary from one day to the next, depending on where we are at the time physically, mentally or emotionally.
What struck me the most in her work is her "treatment" of children, as you well pointed out in your essay. Before I saw the mini cortege or read the caption beneath the image and the paragraph in which you described it, I recognised John Jr. No mean feat to convey that poise and sadness in a wooden sculpture so simplified and we could almost say so "minimal" in its execution. I have always believed that only pain can understand pain. Marisol knew of loss and grief and although many of her other works convey frustration or defiance or freedom, I found this John Jr the most compelling one.
I could go on, but this is about your essay, not mine. Once again, Thanks so much!
Christina, you are right that responses to art (in any genre) depend partly on mood and circumstances. There are books that leave me cold until I find them at the right moment. I’m glad you found this essay, and Marisol’s John Jr., at the right moment. By the way, I once planned to be an art historian myself.
You've stirred a memory from my 5 year old self about my first visit to the Buffalo AKG. I remember my sense of wonder standing in front of Marisol's block-like sculpture, and recognizing it as people in another form. I related to it more than the walls of abstract paintings at the time. And now the "Aha" moment from your essay about Marisol. Thank you! I will visit the exhibit soon.
How interesting, Stephanie. Her work seems so very adult, yet you are the second commenter here who connected woth it as a child. Perhaps they are like giant block sculptures? Enjoy the exhibition. It’s very special.
I basically grew up in that museum. My working-class parents, noticing that I was constantly drawing, enrolled me in the children's weekend art classes offered at the Albright Knox. The program would occasionally let us roam the museum, and I remember making a drawing of Marisol's Baby Girl, and even at that early age found it simultaneously hilarious and terrifying. Its significance gradually unfolded further as I entered my teenage years.
How interesting that you zeroed in on "Baby Girl" as a kid let loose in the museum. Between your perceptive parents and the Albright Knox, your cultural life got off to a beautiful start.
What a wonderful piece! I haven't come across Marisol's work before, but I am now hooked on finding out more about her- she sounds like such an icon. Thank you for the introduction :)
The Family is in the Currier Museum’s collection, and as many times as I’ve looked at it, I never noticed the daughter’s three legs! And ugh, the casual misogyny (plus beauty fixation) of the mid-20th century—it’s a wonder that any woman was ever able to push through it.
Funnily enough, Sarah, I didn’t notice the extra leg myself until I looked closely at the photo while writing the piece. It may serve a structural purpose, so I hesitated to read much into it. Discovering this sculpture was a highlight of my visit to the Currier last summer.
Thank you for this personal gallery tour, Rona (no illegal sandwiches this time?). Your first para had me thinking about my childhood icons. I'll show my age and pop culture habits in a heartbeat with this list. The Wife: Meredith Baxter (Family Ties), The Temptress: Rue McClanahan (Blanche Devereaux, The Golden Girls) and The Face: Kelly McGillis as Charlotte 'Charlie' Blackwood in Top Gun. Though the ever-foxy Heather Locklear was another strong Face contender for me!
Thank you for the introduction to Marisol. Why is it that so many of us women have never heard of her? Like many writers and artists, I have struggled to combine motherhood with writing, the latter suffering, though my children still remain the best decision and part of my life. What I wish for us creative women is that we did not have to choose, that we could learn perhaps from other countries/cultures that do not place the sole burden of child-rearing and domestic duties on the woman, or at least offer much more societal support.
Welcome, Evelyn. Your wish has haunted generations of creative women. Do you know the book THE BABY ON THE FIRE ESCAPE ? It’s a searching look at how various artists and writers have combined their work and motherhood with varying degrees of success. I recommend it highly.
Loved this— the glimpse into Marisol’s life, the selection of her art, and the context from all those contemporary magazine articles. You made us see exactly what she was up against—
I’ve been mulling over my thoughts on this as I read it as soon as I could. I just LOVE Marisol so so much and you nailed it here! What baffles me the most is how incredibly original her work is and how there’s still no one like her. Everything about her was so defiant, down to her strained silence, and yet her work is sometimes so lighthearted and FUNNY. I honestly think we’re always just scratching the surface of what makes Marisol such an incredible artist. Incredible post Rona! I had zero doubt you were gonna knock this one out of the park.
Aww, thanks! This means a lot, coming from you. Let's do what we can to keep her forward-thinking work in the limelight. There was no one like her. I hope you see this show and look forward to your take on it.
Thanks Rona for this terrific introduction to Marisol, an artist I didn't know. Her work has both depth and wit. And I loved this quote you cited: "If you call my work folk art, it is only because you are prejudiced against my South American background. Folk you.”
My one regret about this great line is that the intended target never saw it. I hope the memory makes you smile when you encounter your first Marisol.
I love this quote, too!
I feel like I knew about Marisol but forgot her. Thanks for bringing her back to my forefront! I was fortunate to be surrounded by all types of art growing up and have parents who bought and spoke about art even though we didn’t have much money.
An education in art is a gift to a child. It flowers for a lifetime. Glad you enjoyed this, Rachel.
Fascinating, Rona! I knew nothing of her. But ... why won't you name the sociologist?
I didn't want to glorify him. Turns out he doesn't need any help from me. Andrew Hacker is still a prominent public intellectual, according to Wikipedia. His wife, and co-author of one of his books, is Claudia Dreifus, a science writer for the NYT. So I guess it wasn't too egregious after all that her professors emboldened her.
Thank you for introducing me to Morisol, Rona! She is fascinating. It's sad to me that women artists and writers have had to make the choice between home/family and independence. Yet, those who rejected the norm are often viewed as lonely "cat laddies" when they obviously weren't. I'd love to learn more about how women have carved out alternatives to domesticity under patriarchy and found love and family on their own terms. Alas, we know too little about the private lives of women of the past.
Anne, have you read NINTH STREET WOMEN, about the women of abstract expressionism? It’s riveting, almost novelistic. We know a fair bit about the private lives of some pioneering women. Marisol somehow ensured that her own intimate life was a mystery. For quite a few others, passion and struggle were part of the persona.
I haven’t. Putting it on my list!
One of the most engrossing and enlightening books I’ve read in years. You’re in for a treat.
I second the recommendation of Ninth Street Women!
Hi Anne, you should take a virtual poke around the Kattenkabinet (Cat Art Museum) in Amsterdam---ironic that there are no lonely cat ladies listed as artists---it's male-dominated! https://kattenkabinet.nl/en/over/
thanks, Rona, for introducing me to Marisol. Being an Art Historian myself, I did come across her work briefly during a discussion with a friend, who runs an Art gallery in London. Neither Marisol nor her art appealed to me at the time, which is in fact, one of the raison d'etre of Art. Not only it arises different emotions -including indifference- in each of us, but also those emotions can vary from one day to the next, depending on where we are at the time physically, mentally or emotionally.
What struck me the most in her work is her "treatment" of children, as you well pointed out in your essay. Before I saw the mini cortege or read the caption beneath the image and the paragraph in which you described it, I recognised John Jr. No mean feat to convey that poise and sadness in a wooden sculpture so simplified and we could almost say so "minimal" in its execution. I have always believed that only pain can understand pain. Marisol knew of loss and grief and although many of her other works convey frustration or defiance or freedom, I found this John Jr the most compelling one.
I could go on, but this is about your essay, not mine. Once again, Thanks so much!
Christina, you are right that responses to art (in any genre) depend partly on mood and circumstances. There are books that leave me cold until I find them at the right moment. I’m glad you found this essay, and Marisol’s John Jr., at the right moment. By the way, I once planned to be an art historian myself.
You've stirred a memory from my 5 year old self about my first visit to the Buffalo AKG. I remember my sense of wonder standing in front of Marisol's block-like sculpture, and recognizing it as people in another form. I related to it more than the walls of abstract paintings at the time. And now the "Aha" moment from your essay about Marisol. Thank you! I will visit the exhibit soon.
How interesting, Stephanie. Her work seems so very adult, yet you are the second commenter here who connected woth it as a child. Perhaps they are like giant block sculptures? Enjoy the exhibition. It’s very special.
I basically grew up in that museum. My working-class parents, noticing that I was constantly drawing, enrolled me in the children's weekend art classes offered at the Albright Knox. The program would occasionally let us roam the museum, and I remember making a drawing of Marisol's Baby Girl, and even at that early age found it simultaneously hilarious and terrifying. Its significance gradually unfolded further as I entered my teenage years.
How interesting that you zeroed in on "Baby Girl" as a kid let loose in the museum. Between your perceptive parents and the Albright Knox, your cultural life got off to a beautiful start.
What a wonderful piece! I haven't come across Marisol's work before, but I am now hooked on finding out more about her- she sounds like such an icon. Thank you for the introduction :)
You'll find lots to discover online about her work, although very little about her life. Glad to meet you through this extraordinary artist.
Fantastic piece Rona! Loved learning about Marisol, and her powerful art.
Isn’t she an original? Thanks so much.
The Family is in the Currier Museum’s collection, and as many times as I’ve looked at it, I never noticed the daughter’s three legs! And ugh, the casual misogyny (plus beauty fixation) of the mid-20th century—it’s a wonder that any woman was ever able to push through it.
Funnily enough, Sarah, I didn’t notice the extra leg myself until I looked closely at the photo while writing the piece. It may serve a structural purpose, so I hesitated to read much into it. Discovering this sculpture was a highlight of my visit to the Currier last summer.
https://thebuffalohive.com/art-review-the-marisol-retrospective-at-the-buffalo-akg-art-museum/
Thank you. The AKG is a stunner, with or without Marisol, and you are lucky to have it in Buffalo.
And so it begins, the mad Googling for more. I love her Portrait of Georgia O'Keeffe (at the Buffalo museum according to this article--it's the first image: https://www.nga.gov/stories/who-is-marisol.html#:~:text=Marisol%20became%20a%20star%20of,version%20of%20The%20Last%20Supper.
Thank you for this personal gallery tour, Rona (no illegal sandwiches this time?). Your first para had me thinking about my childhood icons. I'll show my age and pop culture habits in a heartbeat with this list. The Wife: Meredith Baxter (Family Ties), The Temptress: Rue McClanahan (Blanche Devereaux, The Golden Girls) and The Face: Kelly McGillis as Charlotte 'Charlie' Blackwood in Top Gun. Though the ever-foxy Heather Locklear was another strong Face contender for me!
Yes, that portrait is terrific. I’ve also seen her portrait of Martha Graham, equally memorable.
Wow, just looked it up. That's a weighty one!
Thank you for the introduction to Marisol. Why is it that so many of us women have never heard of her? Like many writers and artists, I have struggled to combine motherhood with writing, the latter suffering, though my children still remain the best decision and part of my life. What I wish for us creative women is that we did not have to choose, that we could learn perhaps from other countries/cultures that do not place the sole burden of child-rearing and domestic duties on the woman, or at least offer much more societal support.
Welcome, Evelyn. Your wish has haunted generations of creative women. Do you know the book THE BABY ON THE FIRE ESCAPE ? It’s a searching look at how various artists and writers have combined their work and motherhood with varying degrees of success. I recommend it highly.
Again, thank you for this recommendation, Rona!
Loved this— the glimpse into Marisol’s life, the selection of her art, and the context from all those contemporary magazine articles. You made us see exactly what she was up against—
I’d love to get to Buffalo to see the show!
Oh, I hope you do. The new museum is extraordinary, a fine collection beautifully displayed. You will recognize some famous paintings.
Thanks for the introduction, Rona. I didn't know anything about her and find her very interesting.
My pleasure, Nancy.
I’ve been mulling over my thoughts on this as I read it as soon as I could. I just LOVE Marisol so so much and you nailed it here! What baffles me the most is how incredibly original her work is and how there’s still no one like her. Everything about her was so defiant, down to her strained silence, and yet her work is sometimes so lighthearted and FUNNY. I honestly think we’re always just scratching the surface of what makes Marisol such an incredible artist. Incredible post Rona! I had zero doubt you were gonna knock this one out of the park.
Aww, thanks! This means a lot, coming from you. Let's do what we can to keep her forward-thinking work in the limelight. There was no one like her. I hope you see this show and look forward to your take on it.