Eight artists brought together by Molly Warnock, among the many on both sides of the Atlantic who have been profoundly marked by the work as rare as it is decisive of James Bishop (1927-2021), share their perspectives on the American painter.
Molly Warnock is an art critic and art historian based in Baltimore. The author of Simon Hantaï and the Reserves of Painting (Pennsylvania State University Press, 2020) and Penser la Peinture: Simon Hantaï (Gallimard, 2012), she has written widely on modern and contemporary art for, among other journals, Artforum, Art in America, Les Cahiers du Musée National d'Art Moderne, Tate Papers, nonsite.org, and Journal of Contemporary Painting, as well as for numerous European and U.S. exhibition catalogues. In 2010, she curated a double exhibition of Simon Hantaï's work for the Galerie Jean Fournier, Paris, and Paul Kasmin Gallery, New York, and wrote the accompanying catalogue.
The work of the American painter James Bishop (1927-2021), based mainly in France since 1958, stands in a singular relationship to the European and North American traditions of postwar abstraction. Over a period of thirty years, Bishop worked on both canvas and paper and developed a unique pictorial language revealing the process of creation. After 1987, he restricted himself exclusively to the confined, intimate space of paper formats.