Judd Foundation is pleased to present Rosemarie Castoro: Paintings 1964-1966 at 101 Spring Street in New York. Curated by Flavin Judd, Artistic Director of Judd Foundation, and organized in partnership with the Estate of Rosemarie Castoro, and Thaddaeus Ropac gallery. The exhibition features five paintings by Rosemarie Castoro, an artist who worked across painting, sculpture, dance, photography, graphic design, and poetry.

The works included in Rosemarie Castoro: Paintings 1964-1966 reflect Castoro’s primary formal interests of the mid-1960s which art historian Tanya Barson has described as the exploration of, “simple and direct compositions of bold, flat, shapes isolated on an unmodulated ground.”¹ The serial permutations of paintings, such as Red Blue Green Purple, 1964, can be viewed as abstract forms or signs with a choreographic orientation that are articulated in infinitely repeated patterns. Castoro, like Donald Judd, rejected the oversimplification of an artist’s work into categories. Instead, she worked across mediums while maintaining a lifelong commitment to abstraction. Castoro’s paintings from this time precede her later work in performance, poetry, and what she called “paintingsculpture” and “sculptural drawing.” Of note are her freestanding walls, such as Foyer from 1971, a work in gesso and graphite on multiple Masonite panels that directly engage sculpture and architecture. In the late 1970s, her sculptural work took on totemic qualities as seen in a body of work titled Flashers, which included a permanent installation of a large-scale outdoor work in concrete.

Rosemarie Castoro: Paintings 1964-1966 situates Castoro’s work within the context of the radical dance practices of Simone Forti and Yvonne Rainer, and the experimentation of visual artists Louise Bourgeois, Eva Hesse, and Agnes Martin. Accompanying the exhibition is a newly commissioned text by Rachel Stella, contributor to the exhibition catalogue for Rosemarie Castoro. Focus at Infinity at the Barcelona Museum of Contemporary Art (MACBA).