For the past five decades, Bartlett, who is based in Amagansett, New York, has been engineering a kind of art-making that has brought together the aesthetics of modernist abstraction and the emphasis on rules-based systems of Minimalism and Conceptualism. As exemplified by her 1975–76 piece Rhapsody, an installation first shown at Paula Cooper Gallery that features symbols and images unfolding across a grid of 987 plates, Bartlett is known for paintings, prints, drawings, and sculptures that test the boundaries between original handmade gestures and those prescribed by systems.
Her work was recently the subject of a survey that opened first at the Pennsylvania Academy of Fine Art in Philadelphia in 2013 and later traveled to the Parrish Art Museum in Water Mill, New York. Earlier this year, Locks Gallery hosted an exhibition of Bartlett’s prints and paintings featuring houses
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