Looking at Pictures a Mary Heilman retrospective just opened at
Whitechapel in London. Adrian Searle reviewed the show for the Guardian and writes
There are no tremors of the absolute, no toying with the ineffable or the muscular weightlifting of Heavy and Important Subject Matter in Heilmann’s art. She has played fast and loose with formal manners without turning the whole thing into a joke or a diatribe against the abstract canon, whose father figures (they were invariably men) are squinty-eyed, finger-wagging purveyors of half-cocked rules about the right and wrong ways of doing things. Much of the time, I didn’t understand what they were talking about. more
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| Mary Heilman, Crashing Wave, 2011 |
Mary Heilmann
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| Mary Heilman, Primalon Ballroom, 20012 |
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| Mary Heilman, Cup Drawing |
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