Christina Weyl

‘Balance, motion, suspension’ and ‘tension’ form the guiding principles of the work of Sue Fuller (1914–2006, Pittsburgh), one of the most innovative artists in the field of geometric abstraction in the postwar United States. Initially a prominent figure in Stanley William Hayter’s famous New York print workshop, Atelier 17, Fuller developed an interest in geometric abstraction in the mid-1940s, which led her to adopt string as a tool to create three-dimensional compositions in a range of colours and varying densities across a delicate, almost invisible framing structure. Fuller is also known for her use of unconventional materials sourced from various industrial sectors, including fishing lines and synthetic surfaces such as Lucite, which conserve the compositions’ delicate tension and vivid colour schemes in pristine condition to this day. Sue Fuller: Into the Composition constitutes the first monographic study of Fuller’s work and includes contributions by art historians Alex J. Taylor and Christina Weyl. The book is released on the occasion of an exhibition by the same name, held at Luxembourg + Co., London in October 2022.

A timely reexamination of the experimental New York print studio Atelier 17, focusing on the women whose work defied gender norms through novel aesthetic forms and techniques In this important book Christina Weyl takes us into the experimental New York print studio Atelier 17 and highlights the women whose work there advanced both modernism and feminism in the 1940s and 1950s. Weyl focuses on eight artists—Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan—who bent the technical rules of printmaking and blazed new aesthetic terrain with their etchings, engravings, and woodcuts. She reveals how Atelier 17 operated as an uncommonly egalitarian laboratory for revolutionizing print technique, style, and scale. It facilitated women artists’ engagement with modernist styles, providing a forum for extraordinary achievements that shaped postwar sculpture, fiber art, neo-Dadaism, and the Pattern and Decoration movement. Atelier 17 fostered solidarity among women pursuing modernist forms of expression, providing inspiration for feminist collective action in the 1960s and 1970s. The Women of Atelier 17 also identifies for the first time nearly 100 women, many previously unknown, who worked at the studio, and provides incisive illustrated biographies of selected artists.

With exquisite full-page color reproductions, Emily Mason: The Light in Spring reveals sixty-eight recent canvases along with thirty-two prints, covering Mason’s work with five master printers. David Ebony continues where he left off in his 2006 volume, Emily Mason: The Fifth Element, elaborating on Mason’s prolific career and her influence as a woman artist working in New York for the past sixty years. Christina Weyl contributes an essay on the history and technique of Mason’s experimental approach to printmaking. Together with editor Ani Boyajian, the authors enrich our understanding of Mason as a bold colorist, fearless experimenter, and dynamic historical presence. This book will be a delight for fans of Emily Mason and of art and color in general.