Lee Bontecou, the American artist who sculpted the void, has died at age 91:
, the era’s artistic tastemaker, reflected that “Bontecou displays an altogether novel authority and breadth of expression and of the means necessary to it.”
Across her four solo shows for Castelli, Bontecou continued constructing the assemblages that made her name, bringing together conveyor belts, canvas scraps, and hunks of abandoned machinery into works that bridged painting and sculpture. Throughout the 1960s, her wall-mounted sculptures would be acquired by the Museum of Modern Art and the Whitney Museum.
Bontecou was more forthcoming in acknowledging the impact of war on her work. Growing up outside of New York in the shadow of World War II, her parents were directly involved in the war effort with her mother wiring submarine transmitters and her father building gliders for Grumman Aircraft. She spoke openly about the horror of encountering images of Holocaust survivors in newspapers and creating work during the tensions of the Cold War and America’s involvement in Korea.
Following more than two decades of working quietly, Bontecou returned in 2003 with a large-scale retrospective that brought together her early welded-steel sculptures and later suspended pieces for the first time. The show traveled to the Museum of Contemporary Art in Chicago, Hammer Museum in Los Angeles, and
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