The Seductive Repetition of Susan Rothenberg

“For me, growth outweighs talent,” remarked Susan Rothenberg in a 1984 New York Times profile. At that point, the artist was in the midst of an evolving career, transitioning from her well-known horse paintings to more varied themes. Some of Rothenberg’s iconic horse paintings are currently showcased at The Weather exhibition at Hauser & Wirth. More significantly, this exhibition highlights her artistic journey over the years and her exceptional talent for infusing life into the most mundane subjects through the evolution of form and gesture.

The Weather not only underscores Rothenberg’s artistic prowess but also positions her as a multifaceted painter. In an art world that often celebrates novelty—both when Rothenberg entered the New York scene in the early 1970s and today, nearly 50 years on—her subtle persistence might go unnoticed. Fortunately, the exhibition juxtaposes her early horse paintings in pairs or doubles, drawing attention to her deft command of color and light.

Rothenberg immerses her figures in a sea of impastoed textures, associating them more with formal abstraction than the traditional figurative style. Boundaries are subtly suggested through slight tonal shifts. For instance, her pieces Mary I and Mary II (both 1974), displayed on the longest wall in the front gallery, portray a side profile of a human figure positioned on all fours, mirroring a horse’s stance. Each canvas represents an accumulation of distinct marks rather than a cohesive gesture, with every brushstroke asserting its role in the broader composition. This method was groundbreaking in 1974, a time when abstraction, conceptualism, and minimalism dominated, rendering figurative art seemingly outdated.

In the second gallery of The Weather, works such as Foxes on a Hill (1972), Blue Frontal (1978), Our Lord (1979), and Red Head (1980–81) showcase Rothenberg’s mastery. Similar to Feminist artists like Harmony Hammond and Carolee Schneemann, who employed similar methods in their sculptures, Rothenberg doubles, encloses, and gathers her subjects—often heads or full human forms. For instance, in Foxes on a Hill, she mirrors both the titular animals and the puffy clouds in the backdrop. The iconic horse in Blue Frontal appears enveloped within a series of pony legs, pushing viewers to recognize relationships among the elements.

The culmination of Rothenberg’s unwavering growth, notably in her later years, is profoundly reflected in the exhibition’s final section. Pieces like Las Blancas (1996–97), All Night Long (2000–01), and Lift Off (2006) showcase her portrayal of figures in states of vulnerability—often nude or contorted, appearing almost unsettled. These compelling and poignant works from her final 25 years convey an emotional depth, coupled with agility in her brushwork. In Untitled (Band and Hands Green), the aerial perspective of a head held in hands resonates with a similar view seen in Red Head, but here, emotional transformation is communicated more subtly through the gradual transition of color from a light verdant to a dark evergreen, with gray peeking through a bone-white head. Rothenberg was undoubtedly a talented artist, but more importantly, she was one who honed that talent repeatedly to articulate both the ordinary and the extraordinary.

Susan Rothenberg: The Weather is on view at Hauser & Wirth (542 West 22nd Street, Chelsea, Manhattan) until October 18. The exhibition is organized by the gallery.