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Art  &  Artist




 

 


Applebroog Ida

 

 

Applebroog Ida (1929 ).

U.S. artist living and working in N.Y.C. Having first worked in *performance, film and sculpture, since 1974 she has emerged as one of the most serious and interesting U.S. feminist *Postmodern painters. Her cartoon-like drawings in separate panels, using ink and rhoplex on parchment-like stiff vellum, were an offshoot of *Conceptual art she uses words and pictures which appear to be, yet defy, narrative. In these, as in her large multi-panel paintings, sometimes freestanding two-sided canvases, as well as on the wall, e.g. the series 'Marginalia' (1991). A. deals with issues of power/powerlessness, alienation, 'the failure of individuals to connect', public vs. private feelings, disaffection, rejection, humiliation and what amounts to the near-breakdown of communication in our society. Her technique, using the palette knife to build up the dominant images in muted browns, reds and yellows, is contrasted to the smaller, often repetitive, scenes drawn like comic strips around the main image.

 
 

Good Women (Vera Mae), 2005

 

 


Good Women (Rose), 2005

 


Modern Olympia (after O'Keeffe) no. 6

 


From the Modern Olympia Series

 


Fancy Shoes/Valentino
2004

 


Modern Olympia (after Manet), 1997-2001

 


1944, 1995-96

 


1950, 1995-96

 


Marginalia (party hat/laughing), 1995

 


Everything is Fine, 1990-93

 


Sacrafice/Paradise, 1993

 


Promise I Won't Die
1987

 


Triple Triptych, 1984

 


Willow Point V.A., 1983-84

 


Thank You Very Much, 1982

 


You still here? (in 3 parts)

 


Untitled - Knife

 


Jimmy Choo Progeny

 


Chanel Progeny

 


Fendi Progeny

 


Baby baby suck your thumb

 


Marginalia (doll/bend over man)

 


Potatoe
1992

 


Untitled
1992

 


American Medical Association, II (2 sheets)
1985

 


Yes, You Can
1996
 

 

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