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. In some ways, I thought it was awful.5 Ramberg located the discomfiting feeling that lies between “fascinating” and “awful” and made compelling and definitive images of and from that place. The combination of density of content and assured handling of paint is rarely found anywhere else in late-twentieth-century art. Christina Ramberg, Japanese Showcase, 1984, stitched fabric, cotton batting, 66 × 56". © Estate of Christina Ramberg. In some ways, Ramberg brings to mind the “atomic” energy Myron Stout packed into his work in her similarly packed, almost overwhelmingly powerful forms.6 No matter what she did, Ramberg retained a sense of structural integrity; she was not unlike an engineer constructing a perfectly balanced machine that allowed her to take off in all directions. As she began to move away from the corset and from normative representations of the body in the mid-’70s, she explored other approaches to processing and transforming her subject matter in paintings such as Double Hesitation, 1977, where hair serves as wood, lace, and bandages, all on a single body. Ramberg’s work of this period has nothing to do with the cartoon origins of some of her visual signatures, and everything to do with making paintings that were intimidatingly complete, unassailable, and yet mysterious in waysthat evoke Max Ernst ’s own body distortions.creating Victorian corsets guide
For the original article go to https://www.artforum.com/print/201802/dan-nadel-on-the-art-of-christina-ramberg-73666