Mira Schor











The Red Tie Paintings

Schor’s work balances political and theoretical concerns with formalist and material passions. Her work has included major periods in which gendered narrative and representation of the body have been featured; in other periods the focus of her work has been representation of language in drawing and painting. The central theme in recent paintings is the daily experience of living in a moment of incipient fascism, radical inequality, austerity, and accelerated time, set against the powerful pull of older notions of time, craft, and visual pleasure. Schor received her MFA in painting from CalArts in 1973. She is the recipient of awards in painting from the Guggenheim, Rockefeller, Marie Walsh Sharpe, and Pollock-Krasner Foundations and of the College Art Association’s Frank Jewett Mather Award in Art Criticism. In 2017 Mira Schor was elected to the National Academy. She is represented by Lyles & King Gallery in New York City and by CB1 Gallery in Los Angeles. Schor is the author of Wet: On Painting, Feminism, and Art Culture, editor of The Extreme of the Middle: Writings of Jack Tworkov, and co-editor of M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism and M/E/A/N/I/N/G Online. Schor was awarded a Creative Capital / Warhol Foundation Arts Writers Grant in 2009 to develop A Year of Positive Thinking, a blog which includes writings on contemporary art, culture, and politics to accompany and provide a positive counterpoint to the publication of her 2009 book A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life. She is an Associate Teaching Professor in the Fine Arts Program at Parsons The New School For Design.

instagram: @mira_schor

Featured in this issue, from left to right:

1. Mira Schor, Bleeding Eye, 2017. Oil and ink on gesso on linen, 16”x20”

2. Mira Schor, “The eye was in the tomb and looked at Cain.” The last lines of Victor Hugo's poem "La Conscience" have haunted me since I read it in high school at the Lyçée Français de New York, "Puis il descendit seul sous cette voûte sombre. Et qu'on eut sur son front fermé le souterrain, L'oeil était dans la tombe et regardait Caïn." It has an Edgar Allan Poe feeling to it: to escape an ever-present accusatory eye Cain asked to be buried alive but when the tomb is closed "The eye was in the tomb and looked at Cain." Oil and ink on gesso on linen, 12”x16”

3. Mira Schor, Wonder Woman on Alert, July 12, 2017. Ink and gouache on paper, 18”x24”

4. Mira Schor, Wonder Woman: The Brush Is Mightier Than the Tie, July 15, 2017. Oil and ink on gesso on canvas, 18”x24”

5. Mira Schor, Dark Night Even for Wonder Woman, July 17, 2017. Oil and ink on gesso on canvas, 18”x24”

6. Mira Schor, “Fire and Fury Like the World Has Never Seen”--#miraschorpainting #notmypresident #patriarchyonsteroids #lockhimup #25thadmendmentnow #resist, August 9, 2017. Oil on gesso on canvas, 18”x24”

7. Mira Schor, “Help, Help” >< “Help, Help,” August 10, 2017. Oil, ink on gesso on linen, 14”x18” #resist #notmypresident #miraschorpainting #theowlofminerva

8. Mira Schor, The Seamstresses, June 1, 2017. Oil and ink on gesso on canvas, 16”x20”