Modern and Contemporary Art
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Photo credit: Yale University Art Gallery
Full-size image not available for download. Please contactRights and Reproductions.
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Full-size image not available for download. Please contactRights and Reproductions.
Artist: Jennifer Losch Bartlett, American, born 1941, B.F.A. 1964, M.F.A. 1965

Five

1971

25 baked enamel-coated steel plates with silkscreened grid, Testor’s enamel, and felt-tipped pen

each: 12 x 12 in. (30.5 x 30.5 cm) overall: 64 x 108 in. (162.6 x 274.3 cm)
Purchased with a gift from Agnes Gund and with the Janet and Simeon Braguin Fund
2014.36.1

The installation piece Five is comprised of twenty-five plates, all of the same size, with screen-printed grids over which the artist painted. The five columns feature arrangements of colored dots governed by a distinct and complex logic of serial progression. Bartlett was influenced by the conceptual art of the 1960s, for which grids and serial composition were integral aesthetic strategies. Unlike the often stark, rule-bound work of conceptual artists such as Sol LeWitt, however, Bartlett was never interested in rigidity; she often made paintings that flirted with systems only to break them, and sometimes incorporated figurative imagery. Five is an instance of her more rule-bound, entirely abstract works. With their imperfect hand-drawn quality, the dots that characterize Bartlett’s work throughout the late 1960s and 1970s serve as an index of the meticulous process of the painting’s construction—their sheer quantity evokes the time it took to produce each piece. They also recall the pointillism of Georges Seurat, whose painting A Sunday on La Grande Jatte—1884 (1884/86, Art Institute of Chicago) inspired Bartlett as a young artist. Five is a quintessential work from the mature phase of the Bartlett’s production, preceding by several years her career-defining 988-plate painting, Rhapsody (1975–76, Museum of Modern Art, New York).

Culture: 
American
Period: 
20th century
Classification: 
Installations
Status: 
Not on view
Provenance: 

Purchased directly from the artist

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.