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DOROTHY HOOD (1918-2000)

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During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity.
During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity. During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity.
Untitled (Black Beauty)1990s48 x 60 in.(121.92 x 152.4 cm) oil and acrylic on canvas
Provenance
Estate of the Artist
New Gallery, Houston
Private Collection, Houston

65,000

During the 1980s and '90s, Hood's devotion to the idea of emptiness did not find favor among a generation ruled by Neo-Pop, Postmodernism, or the debate over the validity of appropriation art. Walter Darby Bannard, an established Color Field painter, recognized Dorothy Hood's enormous talent and advised her to abandon her esoteric interest in something without limits and beyond comprehension. Hood, as we know, stood her ground. As she stated, "Black can be painted to express a great light, for in the void of blackness arises all beginning. Forms are in gravity, or they are suspended without time, or the rush of movement." Hood's virtuosity in handling black is on full display with Untitled (Black Beauty), a masterwork most potent when viewed through the lens of her relentless quest to discover cosmic unity.
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