Libbie Mark
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Untitled Collage Painting (Inv. No. 03JM)

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Untitled Collage Painting

A work of art by female abstract expressionist Libbie Mark. Abstract painting featuring layered blue, brown, and white textures with jagged shapes and splashes, creating a dynamic, mixed-media composition.
Photo: Roz Akin, Courtesy Berry Campbell, New York

Year:

1960s

Dimensions:

24 1/8 x 18 in.

Media:

acrylic and paper collage on canvas

LMPF Inv. No.:

03JM

Collection:

Libbie Mark Provincetown Fund collection

This cool and watery Abstract Expressionist painting features a beautiful thinned paint technique that makes the lighter and darker blue tones bleed into each other. In other areas, the blues and purples swirl to create a marbling effect. Mark also incorporated crumpled issue paper into the paint to create her signature surface texture, and added flatter pieces on top of the paint as additional design elements.

This painting could have been inspired by Mark's extensive time painting in the important seaside artist colony of Provincetown. She began her yearly summer visits there in 1957 when she studied with Hans Hofmann, and returned annually until 1971, the year before she died.

Shown in Mark's first posthumous gallery exhibition, Libbie Mark: Collage Paintings (1950s–1960s), May 23–June 22, 2024 at Berry Campbell, New York, NY, this untitled collage painting was also featured on the back cover of the exhibition catalogue, which contains 9 vivid full-color reproductions. The catalogue is available online, and at Berry Campbell.

Berry Campbell Inv. no. MARK-00030
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  • All Artwork
  • Paintings
  • Works on Paper
  • 1960s
  • 1950s
  • 1940s – Early 1950s
  • 1962 Solo Exhibition
  • 2022 Solo Exhibition
  • 2024 Solo Exhibition
  • 2026 Solo Exhibition
  • Available at Berry Campbell
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Libbie Mark Provincetown Fund

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New York, NY 10018
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Libbie Mark on Instagram

It’s October and here in the northeast we are star It’s October and here in the northeast we are starting to see the brilliant punchy colors of fall foliage. So today we are sharing a range of #LibbieMark paintings that reflect her beautiful sense of color, in a lush autumn palette. Enjoy!All works © Libbie Mark Provincetown Fund. @BerryCampbell represents Libbie Mark. Please see bio for more info, website links and email list signup. Please like and follow @LibbieMarkArtist and gallery rep #BerryCampbell. Swipe for all 7 paintings.Image 1: Untitled Collage Painting, 1960s. acrylic and paper collage on canvas, 23 1/8 x 23 1/8 in. LMPF Inv. no. 39JM.Image 2: Collage Painting no. 20, 1961. Acrylic polymer latex and paper collage on paper, varnished and mounted on masonite, 10 3/8 x 16 1/2 in. LMPF Inv. no. 08R; Berry Campbell Inv. No. MARK-00015. Image courtesy Berry Campbell.Image 3: Untitled, 1950s. acrylic on paper, 6 x 4 in. LMPF Inv. no. 12J.Image 4: Untitled Collage Painting, 1960s. Acrylic and paper collage on canvas, 24 x 18 in. LMPF Inv. no. 18JM; Berry Campbell Inv. no. MARK-00038. Image courtesy Berry Campbell.Image 5: Collage Painting No. 37, c. 1962. Acrylic polymer latex and paper collage on paper, mounted on linen, mounted on Masonite, 30 x 24 in. LMPF Inv. no. 23R; Berry Campbell Inv. no. MARK-00021. Image courtesy Berry Campbell.Image 6: Untitled Collage Painting, 1957-65. Acrylic and paper collage on linen, 24 x 48 in. LMPF Inv. no. 19R; Private Collection. Image courtesy Berry Campbell.Image 7: Untitled, late 1950s. oil on linen, 36 1/4 × 36 in. LMPF Inv. No. 44JM.@AslNyc @womeninthearts @makingtheirmarkorg @all.the.lady.artists @thegreatwomenartists  @womeninabstractart @women_artists @women_in_art__ @wherearethewomenartists @frida__and__ @wearewia @plain_sight_archive @famm_mougins @sailofartcollective @artprovincetown #WomenInTheArts #WomenOfAbstractExpressionism #AbstractExpressionism
#LibbieMark was a member of the #Vectors artist gr #LibbieMark was a member of the #Vectors artist group, based in New York City. So far, research shows a membership list spanning ten years that consisted of twenty-three artists, including two married couples. Despite turnover, the group always featured a majority of female membership. Notably, 7 of the original 1957 roster of 10 were women, and in 8 of 9 exhibitions documented with listed participants, over 50% were female. This is especially meaningful at a time when women were not as recognized or given as much exposure as men (a recurring problem).To date, we have confirmed that Mark participated in 5 Vectors shows between Jan 1963 and Oct 1967. We can’t be sure how Mark connected with this group but Knapik Gallery, where she had her solo show in 1962, also exhibited 3 other Vectors members: Sidney Delevante, Irving Lehman, and Ben Wilson. Wilson and his artist wife Evelyn were very active in operating the group. Other potential connections could’ve been made through the Art Students League, where Mark and 11 of her fellow Vectors attended, and #HansHofmann, with whom Mark and 6 other Vectors studied.Please swipe to view all the Vectors exhibition postcards we have found so far. This search is ongoing, we would love to find all 14 announcements we believe exist for each of the shows between 1957-1967.Image 1. Rhoda Sklar Platt Papers, Collection Judith and Selina Trepp. @JudithTrepp @SelinaTrepp @92ndstreety
Image 2, 4, 7, 8. Ben and Evelyn Wilson Papers, Montclair State University Galleries, Montclair, NJ. @MontclairStateU @Montclairstategalleries
Image 3. Irving Lehman Papers, Special Collections Research Center, Syracuse University Libraries. @syracuseulib @Syracuseu
Image 5. Anne Helioff artist file, Woodstock Artists Association & Museum Archives, Woodstock, NY. @waamart
Image 6. Inv. no. ARCHJM-054. Libbie Mark Provincetown Fund Collection. @NYUniversity @NYUGrey @NYUArtPlease visit the Libbie Mark website to read a full Vectors’ history article: www.libbiemark.com/vector-artist-group. Link in bio for gallery rep @BerryCampbell (run by two amazing women). Please follow us and share!
Been perusing online the gorgeous “Perle Fine: Nin Been perusing online the gorgeous “Perle Fine: Ninth Street Woman” exhibition at Berry Campbell, since I won’t be able to make it into NYC before it closes. Luckily for us at the Libbie Mark Provincetown Fund and everyone else, the gallery does a great job at providing significant documentation on their artists and exhibitions on their website! Standouts for me are those works where Fine (d. 1988) has included elements of collage into her surfaces, which she began doing in the 1950s, including paper, newspaper, sand and metal foil. Mark (d. 1972) is best known for her collage paintings; the earliest we have documented are from 1957. I recently posted about a gorgeous red/hot pink collage painting with silver foil from the 1960s.
These two women Abstract Expressionist artists, both born in 1905, have other details in common, aside from working in abstraction. Importantly both studied with Hans Hofmann, as well as with faculty at the Art Students League. Both have ties to Long Island; Mark started in Great Neck and Fine ended in Southampton. Both women are represented in the collections of the Addison Gallery of American Art and the Provincetown Art Association Museum. Most significantly, both women spent substantial time producing paintings in the artist colony of Provincetown. Please swipe for 2 paintings by Fine on exhibit, and 1 painting by Mark in gallery inventory, with zoomed in details of their textural collage elements. All images courtesy Berry Campbell:
1. Perle Fine, “Pounding Surf,” 1959. Oil on canvas, 48 x 68 inches, FIN-00169. (incorporation of netting/woven material)
2. Perle Fine, “Calligraphy of Rhythms,” 1950. Oil on canvas, 29 x 36 inches, FIN-00078. (incorporation of sand)
3. Libbie Mark, Untitled Collage Painting, 1966. Acrylic and paper collage on Masonite, 24 x 15 7/8 in. LMPF Inv. no. 51JM, MARK-00002. (incorporation of rice paper)
“Perle Fine: Ninth Street Woman” is on view at Berry Campbell until October 24. @BerryCampbell represents #PerleFine, #LibbieMark, and other incredible women artists. Please like and follow us and see bio for links/more info.
On Tuesday I posted about #MaryGabriel’s @NYTimes On Tuesday I posted about #MaryGabriel’s @NYTimes guest essay “A Superb American Artist Is Finally Getting Her Due.” Article link: tinyurl.com/lee-krasner
Today I am going back to that essay, about women artists’ life choices and art world recognition, inspired by the new Lee Krasner-Jackson Pollock show at the @MetMuseum.In addition to the content, it was interesting to observe the two photographs used for Krasner, at least in the online version of the essay, which is what I read. The first was a contact sheet of a 1972 Irving Penn portrait session, in which Krasner addresses the viewer with a commanding stare, as she is placed at center — with an incredible hooded coat that creates an amazing aura or armor around her. The second illustration, in great contrast, is a 1950 image of Krasner and Pollock in his studio. Rather than appearing as a significant artist in her own right, which she certainly was at the time, she is portrayed as the studio assistant watching hesitantly as Pollock selects an item from his work table. How female artists were portrayed at the time also contributed to the problem of being “Mrs. [insert male painter name here], AKA “Mrs. Jackson Pollock.”We unfortunately don’t have a lot of photographs of Libbie in her studio or with her paintings, but I’m very grateful to have these two, in which she too is portrayed as the strong and confident artist that she was. Please swipe for all 4 images.
We are working hard to get #LibbieMark the artworld attention she deserves. @BerryCampbell represents Mark, and other incredible women artists. Rest of post in comments.
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All content © Jennifer Uhrhane or Libbie Mark Provincetown Fund unless indicated otherwise. Website by MILKROW.
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