Rochelle Feinstein (born 1947) has long been influential as both an abstract painter and an educator (she was one of the first women to be tenured at in the Visual Arts at Yale, where she still teaches). Her thrillingly reckless paintings, full of gestural edge, humor and pop-cultural allusion, present a kind of two-dimensional precedent for the deftly coarse sculptures of Rachel Harrison, or an American counterpart to Martin Kippenberger.
This book―published for Feinstein’s 2016–17 shows in Munch and Hannover, and for her 2018 exhibition at the Bronx Museum in New York―introduces Feinstein’s oeuvre with reproductions of works from 1989 to the present, essays and interviews with the artist. The images are organized alphabetically (by title), inventory-style.
This book showcases the work of abstract painter Rochelle Feinstein from 1989 up to the present, including essays and interviews with the artist. “Love Vibe: A Conversation with Rochelle Feinstein” gives an especially illuminating view into Feinstein’s process and motivations. She explains, for example, that The Wonderfuls, 15 paintings produced in the 1990s, arose from the idea that “wonderful” has lost all meaning. She therefore uses the term ironically, calling an awful weekend trip with a now-ex-boyfriend a Wonderful Vacation (1994). Her work is deeply personal and darkly funny; Feinstein does not shy away from biting sarcasm or self-deprecation. She has found, perhaps, the best way to survive in what she calls “a poisonous world.”
This book―published for Feinstein’s 2016–17 shows in Munch and Hannover, and for her 2018 exhibition at the Bronx Museum in New York―introduces Feinstein’s oeuvre with reproductions of works from 1989 to the present, essays and interviews with the artist. The images are organized alphabetically (by title), inventory-style.
This book showcases the work of abstract painter Rochelle Feinstein from 1989 up to the present, including essays and interviews with the artist. “Love Vibe: A Conversation with Rochelle Feinstein” gives an especially illuminating view into Feinstein’s process and motivations. She explains, for example, that The Wonderfuls, 15 paintings produced in the 1990s, arose from the idea that “wonderful” has lost all meaning. She therefore uses the term ironically, calling an awful weekend trip with a now-ex-boyfriend a Wonderful Vacation (1994). Her work is deeply personal and darkly funny; Feinstein does not shy away from biting sarcasm or self-deprecation. She has found, perhaps, the best way to survive in what she calls “a poisonous world.”
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