Thursday 2 December 1993 to Sunday 23 January 1994
Organised and presented by the Orchard Gallery, Londonderry (with support from Zwemmer Art Books and the Orchard Gallery)
Having previously worked in the areas of performance, sculpture and film, Ida Applebroog has concentrated on making paintings since 1974. This exhibition includes selected earlier works juxtaposed with her recent sequence of free-standing and arranged paintings, the ‘MARGINALIA’ series of 1991. The selection of work also includes her seminal film, ‘BELLADONNA’, a collaborative project by Applebroog and Beth B, her daughter . Applebroog deals with contemporary sensibilities of disaffection, rejection, humiliation and what amounts to the near breakdown of communication in our society.
Ida Applebroog was born in 1929, she lives and works in her native city New York. She is represented by Ronald Feldman Fine Arts Inc, N.Y. The artist was awarded a Guggenheim Fellowship in 1990 and she accepted the Milton Avery Professorship at Bard College in Annandale-on-Hudson, New York for the 1991-92 academic year.
Her work is represented in many private, and major public collections world-wide including:
- The Museum of Modern Art, New York, N.Y.
- Solomon R. Guggenheim Museum, New York, N.Y.
- The Metropolitan Museum of Art, New York, N.Y.
- Australia National Gallery, Sydney, Australia.
Recent solo exhibitions include:
- The Orchard Gallery, Derry, Northern Ireland, touring to the Irish Museum of modern Art, Kilmainham, Dublin, and Cubitt Street Gallery, Clerkenwell, London.
- The Weatherspoon Art Gallery, North Carolina, U.S.A. and the Brooklyn Museum, New York.
“Applebroog’s key significance may lie in the new impetus she has given painting…she moves with disorientating facility from cartoonish story-board drawings to rich sensuality…when an artist is similtaneously passionate, skilful, funny and clever, somebody, somewhere ought surely to take notice.”
— Charles Hall, Art Monthly, November 1993.
“I’m conducting a cultural anatomy of what makes us miserable today.”
— Ida Applebroog.
“These paintings of the dark side are simultaneously witty, horrific, disturbing, comic, perverse, sensible, entertaining, and apocalyptic. Casting an eerie light on civilization’s follies, they find a match of style and substance as affecting in their ownway as Leon Golub’s. Applebroog’s discontents are aimed as the violence (sexual and otherwise) in the human heart, a subject that should give her enough material for a lifetime.”
— Kay Larson, New York, Nov. 9 1987.
“These are pictures about the politics of contemporary life – about loneliness, helplessness, power, sexuality, the nuclear threat, the vulnerability of children – and the themes are woven together in tapestries fraught with irony.” “This is an age where people are dying without aging,”she says, referring to the Aids epidemic, “and others are aging without dying”, speaking of her mother, who lost her ability to function long before she died, at 91.
— Ruth Bass, Art News.
“Applebroog’s work is sweet and nasty, but the sweet never apologises for the nasty. Rejecting various media strategies of the 80s, the painter uses paint to tell stories from real life.”
— Elizabeth Hess, Village Voice, Nov. 19 1991.
“Ida Applebroog has mounted an exhibition that scrutinizes the dark side of American life while also pushing at the possibilities of painting. These ‘marginalia’ as the artist collectively titles them include a painting of an over-weight man tottering on a child’s tiny scooter; it stands near a canvas that depicts a seemingly handicapped girl who eats by holding a spoon with her foot. The two images – the first ridiculing the powerful, the second rooting for the vunerable – are quintessential Applebroog. So is the way the emotional and interpretive tables can turn, with the scooter rider suddenly seeming the vulnerable pathetic figure, the child the one who is capable and in control. Ms Applebroog….is a moralist who does not judge, but merely presents different events and allows her viewers to draw their own conclusions, all according to their individual sympathies and demons.”
— Roberta Smith, New York Times, Nov 1 1991.