Link to Post:
http://hyperallergic.com/64479/dispatches-from-hell-nancy-speros-cruel-beauty/
Thomas Micchelli reviews the exhibition Nancy Spero: From Victimage to Liberation: Works from the 1980s & 1990s at Galerie Lelong, New York, on view through February 16, 2013.
Micchelli writes: "The installation is, in a word, stunning — as spare and light-filled as the work itself. The collages, with their rhythmic interplay of repeating images, shimmer across expanses of paper with touches of jewel-like color when they’re not exploding in flashes of graphic intensity. That they can be so materially beautiful in spite of their often wrenching subject matter is one of the paradoxes that carries Spero’s work out of the times for which they were made and makes them invaluable for our own."
Link to Post:
http://blog.art21.org/2012/06/22/exclusive-nancy-spero-collaboration/
In a new video by Art21, Nancy Spero (1926-2009) works on prints and "discusses how collaborations with other artists activated her work by allowing for greater variation. In working with others and drawing from an extensive collection of acquired and original figural images, Spero was able to produce art late into her life. Spero's piece for the Venice Biennale, “Maypole / Take No Prisoners” (2007), is shown in process"
For more context on Spero's career and her 2010 exhibition at the Centre Pompidou in Paris can be found in Barry Schwabsky's article No Images of Man: On Nancy Spero.
Link to Post:
http://canopycanopycanopy.com/10/notes_in_time
An impressive on-line recreation of Nancy Spero's mixed-media work Notes in Time. "The cyclic structure and complex nonnarrative flow of Nancy Spero’s Notes in Time make it the artist’s most ambitious work. Spero, who died last year at 83, recalled that creating it “was like working on a book, a solitary activity. I had to sequester myself"
Link to Post:
http://artkritique.blogspot.com/2010/12/on-nancy-spero-centre-pompidou.html
ArtKritique's John Matthews writes about the Pompidou Center's Nancy Spero exhibition. Matthews writes: "It's an enormous credit to an artist so easily identified with the pop-art, feminism, ant-war protest and all sorts of counter cultural reference that the visual and physical presence of Spero's work can stand outside and above the biography, theory and reportage and leave one quivering."
