Marjorie Strider, American (1934 - )

Strider made her big splash in what many consider to be one of the first great exhibits of the Pop movement, the "First International Girlie Show" at Pace gallery featuring Andy Warhol, Roy Lichtenstein, Tom Wesselman...and her own three dimensional, flat-painted triptychs of giant bombshell women. Pieces she later recognized as being an ironic take on the men's world of art, and an early feminist statement.

From 1964 to 1968 she had and two solo three group shows at Pace, reviews and feature stories in all the art press, pieces bought by museums. She started doing performances on the streets, then in galleries. She was a regular at the Whitney. She created a whole three-dimensional body of "ooze" works, shifted to Nancy Hoffman Gallery. Started a teaching career at Manhattan's School of Visual Arts. Did residencies and site-specific sculptures throughout the U.S. and Europe. Received a National Endowment for the Arts grant. Started getting mentioned in pivotal books about that pivotal time, by the likes of such well-known art critics as Lucy Lippard and Michael Kirby. She bought and renovated a TriBeCa loft...before the term TriBeCa was even created.

"Throughout the 1960s and 1970s, when I made my first, biggest splash, it seemed at times that you simply couldn't make it unless you were part of a recognizable movement. But then you'd get trapped," she said.

"I ended up mentioned in 35 to 40 books as a seminal figure," Strider tells me, after I've learned she's now a Hudson Valley artist, living off the Esopus Creek in Saugerties for the past three years. "The problem was that they were all different movements. I was there at the beginning of Pop Art. I was grouped as one of the Post-Minimalists. I was considered one of the founders of Performance Art. I worked in Ooze, styrofoam and polyurethane, for years."

“Yet, you know, that's what being an artist's all about; changing," she says, showing off her new work with ceramics. "I'm always cooking up ideas."

She adds how her work has always been a few years ahead of its time, not fully recognized, or recognizable even, until later. But now she's feeling good about all that's passed, and how the various creations, the many exhibits and different styles, odd movements, have ended up adding to a whole greater than its individual parts.

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