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Joan Mitchell (1925-1992) established a singular visual vocabulary over the course of her more than four decade career. Born in Chicago and educated at the School of the Art Institute of Chicago, from which she received a BFA (1947) and an MFA (1950), Mitchell moved to New York in 1949 and was an active participant in the downtown arts scene. She began splitting her time between Paris and New York in 1955, before moving permanently to France in 1959. In 1968, Mitchell settled in Vétheuil, a small village northwest of Paris, while continuing to exhibit her work throughout the United States and Europe. When Mitchell passed away in 1992, her will specified that a portion of her estate should be used to establish a foundation to directly support visual artists. Yves Michaud is a French philosopher, writer, and professor emeritus of philosophy at the Sorbonne, Paris. Julie Otsuka is the award-winning and best-selling author of The Swimmers (2022), The Buddha in the Attic (2012), and When the Emperor Was Divine (2003). Amy Sillman is a painter and occasional art writer, whose 2020 collection of drawings and selected essays on art, Faux Pas, was published by After 8, Paris. She is represented in New York by Gladstone Gallery. Shinique Smith is an American artist whose multidisciplinary practice includes painting, sculpture, video, installation, and performance. Lily Stockman is a Los Angeles-based painter.
"""a gifted artist widely celebrated for her outstanding contribution to abstraction""-- ""Widewalls"" ""she is finally being recognized as a painter of great importance who was long undervalued because of her gender, both in her lifetime and after her death""--Farah Nayeri ""The New York Times"" ""An entry for one of the best shows of 2022...Mitchell, then in her 50s, reaches peak form in gathering brushstrokes that flicker and burn like auras on fire. Here, she goes all the way into her own secret garden"" --Jerry Saltz ""Vulture of New York Magazine"" ""These works show Mitchell gradually embracing a less-is-more approach...This brought larger, more flowing rhythms to her compositions and a more palpable sense of her physical presence""--Roberta Smith ""The New York Times"""
