Please recall to me everything you have thought ofCurated by Eve Fowler

Morán Morán is pleased to present a group exhibition conceived by Eve Fowler, titled Please recall to me everything you have thought of. This exhibition joins together the women documented in the second installment of Fowler’s film project, which investigates the practices of 20 artists, now in the later years of their careers, who have maintained an art making practice for many decades. The title of the show is from a Gertrude Stein text that Fowler selected for its ambiguous poetry that she felt honored the artists, “I’m not asking the artists to tell me anything, but they allowed me in their studios – a private place where artists often feel vulnerable.” The exhibition includes ceramics, painting, photography, sculpture, textiles, works on paper, and video, highlighting each artist’s practice with over 30 artworks, dating from the 70s to this decade.

Etel Adnan (born 1925 in Beirut, Lebanon) is a visual artist and writer making works that are mostly based on landscapes significant to her history and somewhat nomadic existence. The mountains, skies, and seascapes she depicts become poetic in their abstraction of place and memory.

Frances Barth (born 1946 in New York, NY) illustrates spatial relationships through abstracted landscapes and mapping, translating the slow movement of geological time and creating paintings that are both expansive and weighty.

Donna Dennis (born 1942 in Springfield, OH) considers architecture to be a feminist concern, stating that “the life of a building is analogous to the life of a person.” Her works depict different sorts of structures and spaces that are evocative of psychological states.

Florence Derive (born 1945 in Nantes, France) is an artist whose paintings incorporate epistolary contours and calligraphic lines that are inspired by illuminated manuscripts. She uses her fingers to paint configurations onto glass, which she then presses onto canvas, creating a cryptic effect.

Simone Fattal (born 1942 in Damascus, Syria) works mostly in sculpture and ceramics. She has an affinity for creating forms and her pieces tend to show every bit of the way her hands shape the material, appearing as though they have suffered through aspects of time.

Magdalena Suarez Frimkess (born 1929 in Venezuela) works with clay to hand-build forms that may resemble functional ceramics like cups and plates or may be purely sculptural, depicting animals or figures.

Barbara Hammer (born 1939 in Los Angeles, CA; died 2019 in New York, NY) was a pioneer of feminist lesbian filmmaking, employing a nonlinear style to articulate tropes of female pleasure. Experimental and sensual, her films journey into women’s bodies, giving insights to female sexuality.

Harmony Hammond (born 1944 in Chicago, IL) makes works that are primarily engaged with materials and process. Her minimalist abstractions sit somewhere between painting and sculpture, containing visual metaphors alongside what she calls “a survivor aesthetic.”

Maren Hassinger (born 1947 in Los Angeles, CA) is a multimedia artist who often incorporates manipulations of textiles or fibers, embracing the paradox between order and chaos, and nature’s relationship to industry.

Suzanne Jackson (born 1944 in St. Louis, MO) employs improvisations and textural qualities with her work. Her assembled and layered paintings may suggest passed-down stories, or lesser-known customs within African American heritage and culture.

Virginia Jaramillo (born 1939 in El Paso, TX) makes work that is primarily concerned with materials, using non-objective abstraction to trigger subconscious connections to physicality as well as spirituality.

Harriet Korman (born 1947 in Bridgeport, CT) is a painter whose works employ modular, or loosely geometric abstractions, completely non-objective. Her quilt-like works often utilize casually applied bands and stripes of vibrant paint to divide the picture plane into sections of color and form.

Joyce Kozloff (born 1942 in Somerville, NJ) makes politically engaged works that commonly incorporate some aspect of cartography with which she charts out her feminist concerns as well as other aspects of history, geography, and contemporary culture.

Magali Lara (born 1956 in Mexico City, Mexico) is a visual artist working in painting, collage, installation and artist’s books, who is credited with contributing to the Mexican contemporary art movement.

Mary Lum (born 1951 in St. Cloud, MN) utilizes geometric abstraction and the concept of psychogeography in her work, creating paintings that combine text, form divisions, and potent color arrangements to redefine conventional elements.

Mónica Mayer (born 1954 in Mexico City, Mexico) is an artist and activist who typically uses performance, photography, and documentation to elucidate feminist concerns as well as other social issues.

Dona Nelson (born 1947 in Grand Island, NE) makes paintings that disrupt conventional notions of painting and viewership. Using unorthodox processes and methods of presentation, she takes care to address the grid and negative space alongside making efforts to avoid the biographical mark.

Senga Nengudi (born 1943 in Chicago, IL) is a conceptual and visual artist who works with found and readymade objects (most often, nylons) to create sculptures and staged photographs, as well as producing choreographed performances, all dealing with the female body.

Howardena Pindell (born 1943 in Philadelphia, PA) is interested in destruction and reconstruction, focused on gridded, serialized imagery. Even with her politically charged work, she uses this aesthetic and process to address issues of race, feminism, social injustice, and other concerns.

Joan Semmel (born 1932 in New York, NY) is known for her figurative work that renders nude bodies (sometimes her own) often erotic in nature. She is interested in the issues that arise around considering the body – women’s sexuality, individual identity, and the results of cultural imprinting.