#5womenartists

Judith Godwin

Pink Sky Pond 1960, oil on canvas from Berry Campbell Gallery

Pink Sky Pond 1960, oil on canvas from Berry Campbell Gallery

How my paintings appear to others is not a concern while I am working. Neither do I intellectualize about a work. I prefer to leave a canvas unfinished for an extended period rather than make instant revisions. I hope that viewers of my work, being innately sensitive to color and movement, respond to some of the excitement, subtlety, discovery and idealism I have experienced in the best of it.

Perle Fine

Perle-Fine_Summer-I_-1985-5.jpg

Perle Fine Summer 1985

Color is always a motivation. Mixing color, you know, is a very joyous occupation for me because there was so much excitement at what would happen when one color was placed next to another...there was so much more than what came out of the tube.

Dorothea Lange

Dorothea Lange Collection, The Oakland Museum of Caifornia

Dorothea Lange Collection, The Oakland Museum of Caifornia

Seeing is more than a physiological phenomenon...We see not only with our eyes but with all that we are and all that our culture is. The artist is a professional see-er”

Etel Adnan

Untitled 2015 White Cube Gallery

Untitled 2015 White Cube Gallery

We often wonder what art can do for people. I would say that art humanizes society. It brings the reminder that we are more than physical bodies. We have a spirit that needs to be fed and stimulated, with fears that need appeasement. Poetry, visual art, music, sculpture, and so on keep elevating us and opening doors to more than ourselves. They can also serve as a sort of historical monument and give us a sense of past. A society with no art is a dead society—a prison. We can extend our present notion of art by examining how anything done with care can be viewed as the beginning of an artistic instinct at work.

Etel Adnan website

Artspace Interview

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Elizabeth Murray

Falling 1976 Oil -  Pace Gallery

Falling 1976 Oil - Pace Gallery

It’s something about the immediacy of moving your hand with this paintbrush full of a color across this surface and watching what you’re doing change right in front of your eyes. You can see the world changing and you’re in control, or not in control, which is where the frustrating elements come in, especially for an adult.

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Elizabeth Murray Pace Gallery

Interview BOMB

Sally Mann

Untitled, Chancellorsville #29 , 2002, Gelatin silver enlargement print Page Bond Gallery, Richmond

Untitled, Chancellorsville #29, 2002, Gelatin silver enlargement print Page Bond Gallery, Richmond

One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.

About Sally Mann

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Joan Eardley

Fields Under Snow, 1958. Photograph: Estate of Joan Eardley. All Rights Reserved, DACS 2016

Fields Under Snow, 1958. Photograph: Estate of Joan Eardley. All Rights Reserved, DACS 2016

This morning there was a gentle wind from the south-east bringing little showers of snow every now and again. You could watch them several miles away coming up across the sea. And in between the snow showers was something of quietness and gentle greyness - so I was able to paint fairly peacefully.

From the National Galleries Scotland: A Sense of Place