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Louise Fishman, who gave abstract expressionism a new tone, dies at 82

  Neil Genzlinger, The New York Times  Published: 04 Aug 2021 12:46 PM BdST Updated: 04 Aug 2021 12:46 PM BdST Louise Fishman with her painting “A Stranger,” in New York in 2000. Fishman, a widely exhibited artist who imbued her Abstract Expressionist paintings and other works with elements of feminism and gay and Jewish identity, died on July 26, 2021, in Manhattan. She was 82. The New York Times Louise Fishman, a widely exhibited artist who imbued her abstract expressionist paintings and other works with elements of feminism and gay and Jewish identity, died July 26 in the New York City borough of Manhattan. She was 82. ); } Her spouse, Ingrid Nyeboe, said the cause was complications of an ablation, a heart procedure.

Louise Fishman, Who Gave Abstract Expressionism a New Tone, Dies at 82

Louise Fishman, Who Gave Abstract Expressionism a New Tone, Dies at 82
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On Stage: Live shows start roaring back in area

On Stage: Live shows start roaring back in area
chescotimes.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from chescotimes.com Daily Mail and Mail on Sunday newspapers.

On Stage: Live shows start roaring back in area | The Unionville Times

On Stage: Live shows start roaring back in area | The Unionville Times
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BERRY CAMPBELL PRESENTS RAYMOND HENDLER: RAYMOND BY RAYMOND (PAINTINGS 1957-1967)

BERRY CAMPBELL PRESENTS RAYMOND HENDLER: RAYMOND BY RAYMOND (PAINTINGS 1957-1967) NEW YORK, New York Subject Line Please provide verification code RAYMOND HENDLER: RAYMOND BY RAYMOND (PAINTINGS 1957-1967) NEW YORK, NEW YORK, June 29, 2021—Berry Campbell is pleased to announce its fourth exhibition of paintings by Raymond Hendler (1923-1998).  Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) features paintings created between 1957 and 1967, a transitional period for Hendler in which the artist moved away from an Abstract Expressionist mode and employed a more stylized line, producing distinct shapes and symbols. The exhibition is accompanied by a 16-page catalogue with an essay written by Phyllis Braff. 

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