Rose Lindzon: Representation Announcement

We are delighted to announce the exclusive representation of Rose Lindzon (1931-2023). A key figure in second generation abstract expressionism, Lindzon’s artistic practice is deeply intertwined with archaeology. Reflecting her profound interest in the layers of history and culture that inform both fields. Her participation in archaeological digs across various regions, including Etruria, Greece, Turkey, and Crete, has not only provided her with firsthand experiences of ancient civilizations but has also profoundly influenced her artistic vision and methodologies.

Lindzon has had solo exhibitions in major cities including Toronto, Montreal, Calgary, and New York. Notably, in 1988, Robert Swain organized a decade-long retrospective of her work, accompanied by an illustrated catalogue featuring an introduction by Joyce Zemans. Her art is represented in several significant collections, such as the Art Gallery of Ontario, the University of Toronto, McMaster University, the Art Gallery of Hamilton, and the Art Gallery of Nova Scotia, which is currently conducting a comprehensive study of her oeuvre. Additionally, her works are part of various private and corporate collections, including those of Hotz (Zurich, Switzerland), the Scripps Howard Foundation (Kansas City, MI), Chase Manhattan Bank, and Shell Canada Ltd.

Lindzon's multimedia works often embody a dialogue between the visible and the hidden. By layering pieces of canvas, she metaphorically creates "walls" within her compositions, suggesting the complexities of historical narratives that lie beneath the surface. This technique evokes the process of excavation itself—where layers of soil and artifacts reveal stories that have been buried over time. Her art becomes a means of exploring the concept of uncovering, paralleling the work of archaeologists who seek to bring to light the remnants of past societies.

The essay "Grids" by Rosalind Krauss has been highly influential in contemporary art discourse, particularly in its exploration of the grid as both a formal device and a conceptual framework. Krauss argues that the grid serves as a vital structural element in modern art, reflecting underlying themes of order, rationality, and the relationship between abstraction and representation. By examining the grid's role in the works of key artists, Krauss positions it as a symbol of the shifting dynamics of space and perception in art. Her insights have encouraged artists and critics alike to reconsider the implications of geometric structures in their own practices, fostering a dialogue about the intersections of form, meaning, and viewer engagement. This essay has not only contributed to a deeper understanding of modernist aesthetics but has also paved the way for subsequent explorations of spatiality and structure in postmodern art, making it a foundational text in the study of contemporary artistic methodologies.