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From the artist, Frances Barth: In my abstract/referential paintings, I think the shift from paint and experiential light to different perspectives and cartooned line, drawn with different mediums, breaks the sense of the experienced “place” that I am creating to cause a sense of pause or ‘slow time’. The tall vertical format of Travelling View places the viewer just at the point of being able to enter and rise up into the painting. There is a sense of discovery and expectation.Beginning in the early 1970’s I started investigating ideas in my paintings which would create a pictorial space with multiple perspectival points of view. I wanted to find a way to introduce a non-specific narrative to abstraction. These shifting views would direct the viewer’s gaze, creating a hierarchy of meaning that could shift and re-combine. The complex space had attributes of both volume and flatness. The color was made from layers of colors that were perceived as optically mixed. In the 1980’s I began incorporating other forms and images into my paintings, which pushed them into a realm that existed between landscape, mapping, animation, and abstraction. These ideas have been present in my painting ever since. Along with the idea of slow time in the reading of the painting, which for me made it more experiential, I want to chart a different time-based geologic story in each painting which could only exist in deep time. I am also interested in how different cultures represent “reality,” visual information, and mapped ideas. I incorporate methods of modeling, diagramming, mapping symbols and charting into the work. I don’t want the paintings to look overwhelmed by the conceptions. I want the paintings to have a seeming ease in how everything interacts, and also to create a phenomenon of naturalistic light.The color in the paintings involves ideas of local, atmospheric, and abstract color. I want to make natural light and abstract color act as light and location in the same painting, creating a believable space and experience that could never have existed in any other way.

Om konstnären

Frances Barth: Bridging Abstraction and Landscape

Frances Barth (b. 1946) stands as a singular figure in contemporary American painting, recognized for her distinctive approach that seamlessly blends the rigor of geometric abstraction with evocative explorations of landscape and mapping. Emerging during a pivotal moment in art history—following the dominance of minimalism and conceptualism—Barth’s oeuvre defies easy categorization, instead presenting a complex tapestry woven from modernist formalism, references to topographical charts, and profound metaphorical resonance. Her work isn't merely about depicting visual elements; it’s about conveying spatial relationships, emotional states, and intellectual inquiries through carefully considered lines and forms. Born in the Bronx, New York, Barth pursued her artistic education at Yale University School of Art, where she honed her skills under influential mentors like Josef Albers and Robert Irwin. These formative experiences instilled in her a deep appreciation for both chromatic harmony and perceptual experimentation—principles that would become central to her artistic vision. Early paintings demonstrate a preoccupation with monochrome palettes and precise geometric constructions, mirroring the aesthetic sensibilities of artists like Agnes Martin and Ellsworth Kelly. However, Barth quickly moved beyond these stylistic constraints, incorporating elements of landscape imagery into her compositions, often juxtaposing stark lines against subtly textured surfaces. This deliberate tension between abstraction and representation speaks to a broader artistic impulse—a desire to capture not just what is seen but also what is felt. Her groundbreaking exploration into video art solidified her reputation as an innovator, pushing the boundaries of traditional painting mediums. Barth’s narrative films delve into themes of memory, identity, and psychological introspection, utilizing experimental techniques to create immersive experiences that challenge viewers' perceptions. These cinematic endeavors underscore her belief in the power of visual storytelling—a conviction rooted in her lifelong fascination with cartography and spatial representation. The influence of Bauhaus principles – particularly the emphasis on functional design and geometric precision – is palpable throughout her artistic trajectory. Throughout her career, Barth has garnered prestigious accolades including a Guggenheim Fellowship, the Anonymous Is A Woman Award, and invitations to exhibit at prominent institutions such as MoMA, the Dallas Museum of Art, and the Whitney Biennial. Her artwork resides in significant public collections across North America, cementing its place within the canon of modern art. Notably, her paintings are showcased at The Metropolitan Museum of Art, MoMA, and Whitney Museum, demonstrating a sustained engagement with artistic discourse and cultural heritage. Currently, Barth serves as Director Emerita of the Mount Royal School of Art at Maryland Institute College of Art (mica), continuing to nurture emerging talent and champion innovative approaches to visual art.

frances barth

1946 - , United States of America

Snabbfakta

Artistic Movement Or Style: Abstract painting; Landscape art; Geometric abstraction; Modernist formalism
Date Of Birth: 1946
Full Name: Frances Barth
Nationality: American
Notable Artworks:
- Untitled, Number 500
- Travelling View
- Vessel
Place Of Birth: The Bronx, United States

Travelling View

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