Kalm notes: "Beginning with her studies at the Art Students League in the early 1940s, Schloss found herself in the center of what would become known as the 'New York School'. Just as that phenomena was attaining world wide recognition, she left New York to live in Italy. Initiating, maintaining and continuing relationships with many of the most significant internationally recognized artists of her era, Schloss nevertheless, developed her own broadly inclusive practice that manifested as painting, collage, watercolor and assemblage, over a career spanning nearly 70 years."
Micchelli observes: "Schloss’s paintings, which, in their seven-decade span, are as much a part of the 21st century as they are of Abstract Expressionism’s Golden Age. Never wedded to a single approach, Schloss’s paintings proceed from an entrancing combination of observation, imagination and material experimentation. ... These paintings give off a heat commensurate with the inspired abandon of their creation. Modest in scale, they trade Abstract Expressionism’s existential struggles for an unadulterated rapture in the presence of daily life and the legacies of culture. Taken together, they embody the elusive gift bequeathed by the postwar generation to the rest of us — freedom."
Schor writes: "I figure that since the show is divided into two parts, installed along two separate sections of the space, with one side featuring the works of women artists who are deceased, and the other side featuring those of us still among the living, I feel that I can safely recommend the dead without incurring controversy among the other living artists in the show or referring to my own work in it or the ramifications of the word 'lady, ' which I know has stirred some controversy. Curator Jason Andrew of Norte Maar has assembled some terrific work in this show, a diverse group of works by notable artists and artists that some may be less familiar with, and in each case has included a very good example of the artist’s work, and in some cases quite a surprising one. Again, I am just talking about the dead. The works are grouped in open bays or booths, creating in effect small mini-exhibitions with some interesting synergies."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.