- Susan Rothenberg: Moving in PlaceBy Michael Auping
- Susan RothenbergOur PickBy Joan Simon
- Susan Rothenberg: Paintings from the NinetiesBy Cheryl Brutvan, Robert Creeley
Important Art by Susan Rothenberg
In 1974 Susan Rothenberg began painting her Horse series, which would ultimately number more than thirty works and prove to be the most recognizable part of her oeuvre. Untitled (1974) is one of the earliest pieces and contains formal elements that the rest of the series would incorporate with only minor divergences. Typically we see a dense and richly painted monochromatic background - in this case a fleshy and bodily pink - a horse in the center lightly traced or outlined, and a strong vertical line that bifurcates the canvas.
The presence of the figure in painting after decades of abstraction and minimalism was considered enough to link Rothenberg and the other artists shown in the seminal "New Image Painting" exhibition of 1974. Though Rothenberg would protest the grouping as arbitrary, saying, "We weren't a movement, we were a bunch of individuals who were reintroducing images," the exhibition brought her immediate art world fame. Her work revealed a painter who obsessively delighted in the application of paint on canvas, and her subject was seemingly simple but alluded to mythology, history, and progress in art itself - after all, the image is very similar to that of the 19th century photographer's Eadweard Muybridge, interested in capturing motion.
Rothenberg's horse in Untitled has an air of ephemerality as it runs through the monochromatic void of the canvas, as if it will momentarily vanish and leave only a trace of its presence. It is a fragile image, perhaps alluding to a memory or the idea of a horse (wild and free but also tamable for human need) rather than a specific creature or narrative. However, through its simple rendering and placement on an earthy background free of any other adornment, it also asserts its permanence through the allusion to humankind's oldest art - the cave paintings of Lascaux and Altamira. In reviving this ancient imagery in a time when painting was putatively dead, Rothenberg offers a delicate but forceful rebuttal to that claim and asserts the enduring power of the image and the artist.
In Butterfly the horse occupies nearly the entire picture plane, with one of its hooves and part of its face even cut off by the edges of the canvas. While the background is the same muddy red color as Untitled (1974), the horse and the lines that divide the canvas into an "X" shape are rich black. While the horse appears to be moving, the thick black lines look both as if they are behind the horse, and emphasize the flatness of the image - making the whole appear like a flag or national emblem.
Though the horse is fecund in terms of its associations, Rothenberg was less interested in the actual animal because she was more attracted to the form itself, she says: "[it was a] big, soft, heavy, strong, powerful form" that let her think about "wholes and parts, figures and space." For her the "geometrics in the painting - the center line and other divisions - are the main fascinators." This is not the equine hero of David's Napoleon Crossing the Alps (1801) or the noble but gentle mounts of George Stubbs; rather, this is black paint in the general shape of a horse painted on a flat canvas, less interested in the anatomy of a horse and more in the act of mark making itself.
Rothenberg not only repeats the motif of the horse, but also a somewhat abstract and simplified depiction of the hands placed together in prayer. Indeed, the artist herself famously said that "paintings are prayers, they have to do with anything that makes you wish for more than what everyday life provides". Sometimes Rothenberg draws hands more obviously, twisted, intertwined, and even puppeteered, but more often they are transformed to become this skeletal looking bridge-type feature. Much like the outer petals of a flower (making further comparison with the work of Georgia O'Keeffe), or the entry point of a hidden cave, the 'hands' become a framing device inside which glimmers of the imagination emerge and grab our attention. From within the deep, dark, cavern, forms edge forward to help fathom the mysteries of our existence.