Murray, Elizabeth

▪ 2008
 American artist
born Sept. 6, 1940, Chicago, Ill.

died Aug. 12, 2007, Granville, N.Y.
created colour-infused abstract canvases that blended elements of Surrealism and Cubism with cartoonish elements. Her intricately styled creations gave the illusion of motion and featured flying coffee cups, airborne tables, and Gumby-like forms. Though initially interested in commercial art, Murray was swayed toward painting by a Cézanne still life she passed routinely while pursuing studies at the Art Institute of Chicago, where she earned a B.A. (1962) in fine arts; she received an M.A. (1964) in fine arts from Mills College, Oakland, Calif. Together with Philip Guston, Frank Stella, Brice Marden, and others, she expanded the boundaries of the medium during the 1970s, at a time when minimalism flourished. In her early works Murray experimented with monochromatic acrylics on canvasses with rectangular shapes, but by the early 1970s curvy shapes, biomorphic images, and jewel-tone colours in oils distinguished her offerings. By 2000 her work had taken on a lighter tone, and she had begun using white liberally. In 2005–06 she was given a major retrospective at the Museum of Modern Art, New York City.

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▪ American painter
born Sept. 6, 1940, Chicago, Ill., U.S.
died Aug. 12, 2007, Washington county, N.Y.
 American painter whose lively imagery and reconsideration of the rectangle as the traditional format for painting was part of a reinvigoration of that medium in the 1970s and '80s. She is sometimes described as a Neo-Expressionist. The American art critic Roberta Smith considered her to have “reshaped Modernist abstraction into a high-spirited, cartoon-based, language of form.”

      Murray was raised in small towns in Michigan and Illinois, and she attended the School of the Art Institute of Chicago (B.F.A., 1962) and Mills College in Oakland, Calif. (M.F.A., 1964). She taught at Rosary Hill College in Buffalo, N.Y. (1965–67), and then moved to New York City. After experimenting with reconciling late-minimalist painting with aspects of identifiable subject matter, Murray literally began to push the edges of the rectangle in works such as Children Meeting (1978), with large bulbous forms and lines pressing against the edge of the canvas. As if to make the exterior edges of her painting correspond to the energetic rhythms of the various elements pictured within—highly stylized objects such as coffee cups, tables, and chairs, as well as less-definable shapes—she began to create shaped canvases. She carried her experimentation further during the 1980s, when she began to use multiple canvases for a single work. Her Painters' Progress (1981), for example, is a unified image composed of 19 canvases.

      Murray evolved a personal and sprightly range of curved imagery, much of which made reference to art-historical styles. In the 1990s, in works such as Careless Love (1995–96), she constructed her canvases to extend a bit from the wall, giving them sculptural and spatial qualities. She designed two mosaic murals for the New York City subway system: Blooming (1996), at 59th Street and Lexington Avenue, Manhattan, and Stream (2001), at Queens's 23rd Street–Ely Avenue station. She was a recipient of the MacArthur Foundation “genius” grant in 1999.

Additional Reading
Exhibition catalogues include Robert Storr, Elizabeth Murray (2005); and Elaine A. King, Elizabeth Murray: Drawings 1980–1986 (1986).

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Universalium. 2010.

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