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About
Note
Paintings
Sculpture
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
HARRTIET WOOD (aka Suzanne Long) was born in 1937, in Jacksonville, Florida. Studies at Pratt Institute and Art Students League in New York. Since 1959 participation in NO!art manifestations and exhibitions in the Tenth Street (March Group). Many exhibitions in the USA. Since 1978 professor at different institutions. Is involved in problems of the social reality and in landscapes. — Lives in Marshfield/Vermont.
I had been a political protest (anti-war) artist and expressionist figure painter until around fifteen years ago when I turned to abstract expressionism. Even though it's no longer like jumping into the abyss like it was in the fifties, I find it still a relevant genre, drawing me in with more and more complexities, distillations and challenges.
It has offered me the physicality and emotional connection with my work that I needed and along with formal considerations has proved to be a psychically integrative process. My communication with the painting continues until it leaves my studio. For me, there is a connection between writing poetry and painting out of my unconscious, in the sense that both are grabbing the moment and distilling the emotions.
The immediacy of the work and approaching the unknown each time I paint makes it virtually impossible to copy a painting. It is practice, giving myself completely to the moment in the least self-conscious way possible. This way of working has been noted by Zen masters who consider it a form of practice/meditation. —Harriet Wood
2013 INNER DOORS | The Vermont State Supreme Court, Montpelier, VT
2012 OCCUPY SPACE | River Arts, Morrisville, VT
2011 NEW Paintings | Catamount Art Center, St. Johnsbury, VT
2009 NOW AND THEN | Catamount Art Center, St. Johnsbury, VT
2005 Memorial and Desire | Sterling College, Craftsbury Common, VT
2003 NO!art in BUCHENWALD | Boris Lurie: Geschriebigtes/Gedichtigtes,
catalogbook | Contribution: ►My Brother Died
1995 NO! | Neue Gesellschaft für Bildende Kunst, Berlin
Contributions: ►Edwardian Romance + ►The Beat Goes ON!
NO BOX | Edition Hundertmark, Cologne, Contribution
1988 NO!art anthology | Edition Hundertmark, Cologne
1961 INVOLVEMENT SHOW | March Gallery, New York
NO!art involved Artists: ARMENTO + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
