Jean Follett

Jean Follett (June 5, 1917 – July 6, 1990) was an American sculptor and assemblage artist. She was a member of the New York abstract art movement of the 1940s and 1950s.[1]

Biography

Jean Follett was born in 1917 in St. Paul, Minnesota.[2] She was a student at the St. Paul Gallery and School of Art in the late 1930s, before moving to New York City in 1946.[3][4]

In New York, Follett studied art with Hans Hofmann and was a founding member of the Hansa gallery collective.[5] She was also shown in the Green Gallery under the direction of Richard Bellamy and Ivan Karp.[6]

Her work used thick layers of paint embedded with found objects to create relief sculptures. Among the found objects used in her reliefs are tools, machine parts, light switches, nails, springs, and pieces of pipe.[7][8] Her assemblage techniques elevated the everyday objects and street trash, using a two-dimensional picture plane to transform three-dimensional objects into abstract forms.[9][10] Follett was one of the first American artists to use junk metal to create such hybrid objects, and her technique influenced the style of her fellow Hofmann student and romantic partner Richard Stankiewicz.[11][12] She also influenced the work of her contemporaries Jim Dine, James Rosenquist, and George Segal.[7]

Follett's work was included in the 1954 Guggenheim exhibit Younger American Painters, in the Group 3 show at Rutgers University in 1959, and in Sam Wagstaff's landmark 1964 exhibit "Black, White, and Grey."[7][13][14] She had work exhibited in three shows at the Museum of Modern Art in the 1960s, including the international survey The Art of Assemblage (1961).[15] Follett listed her exhibited works at very high prices, shocking her fellow artists at the Hansa Gallery.[16] This may have been a strategy intended to maintain her ownership of her artwork, or to stave off the disappointment associated with her paintings frequently failing to sell.[7] The art collector Horace Richter was one of the few to successfully purchase one of her works. Because her art career was not financially profitable, like many of her peers, Follett supported herself as a freelance draftsman.[17]

A studio fire destroyed much of her portfolio in 1962 and that loss, combined with health problems related to alcoholism, contributed to a decline in her art-world status and career. Follett ultimately left New York for Minnesota and never returned.[3][4] She fell into obscurity and is still a marginalized figure in the history of a scene in which she was briefly influential.[10] Ivan Karp described her as a pioneer of "remarkable historic importance" whose adventurous work was perhaps too challenging to find a market at the time.[17]

Jean Follett died on July 6, 1990 in Minneapolis, Minnesota. Her work is in the collections of the Museum of Modern Art, the American College of Greece, the Walker Art Center and the Minnesota Historical Society.[17][3]

References
  1. Russell, John (1979-02-18). "GALLERY VIEW". The New York Times. ISSN 0362-4331. Retrieved 2017-11-08.
  2. "Follette, Jean – Death Certificate". Minnesota Historical Society. Retrieved 2017-11-26.
  3. "Discovering Jean Follett: From the East Side of St. Paul to New York City". East Side Freedom Library. 2018-05-24. Retrieved 2018-12-28.
  4. Rachleff, Melissa (30 September 2019). "Retrospect: A rediscovery of the pioneering artwork of Jean Follett". Ursula Magazine. Issue 4.
  5. Smith, Roberta (1998-04-03). "Richard Bellamy, Art Dealer, Is Dead at 70". The New York Times. ISSN 0362-4331. Retrieved 2017-11-08.
  6. Solomon, Barbara Probst (2007). The Reading Room/7. Great Marsh Press. ISBN 9781928863120.
  7. Stein, Judith E. (2016-07-12). Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. Macmillan. ISBN 9780374151324.
  8. Review: Remembering the Tenth Street Galleries, retrieved 2017-11-08
  9. Kimmelman, Michael (1993-07-09). "Review/Art; Explosive Painting: The Path to Pop". The New York Times. ISSN 0362-4331. Retrieved 2017-11-08.
  10. Kaprow, Allan; München, Haus der Kunst (2008). Allan Kaprow: Art as Life. Getty Publications. ISBN 9780892368907.
  11. Smith, Roberta (1995-02-10). "Art in Review". The New York Times. ISSN 0362-4331. Retrieved 2017-11-08.
  12. Rubinstein, Charlotte S. (1982). American Women Artists. Boston MA: G.K Hall & Co. pp. 322.
  13. Robinson, Julia (2009). "From Abstraction to Model: George Brecht's Events and the Conceptual Turn in Art of the 1960s". October. 127: 77–108. doi:10.1162/octo.2009.127.1.77. JSTOR 40368554. S2CID 57562781.
  14. Gefter, Philip (2014-11-03). Wagstaff: Before and After Mapplethorpe: A Biography. W. W. Norton & Company. ISBN 9781631490156.
  15. "No Point of View Is the Best View of All: Artists Working Between 1952–65, Many of Whom Are Forgotten". Hyperallergic. 2017-01-15. Retrieved 2017-11-08.
  16. Baker, Richard Brown (1963). "Oral history interview with Richard Stankiewicz". Archives of American Art. Retrieved 2017-11-08.
  17. Baker, Richard Brown (1963). "Oral history interview with Ivan C. Karp". Archives of American Art. Retrieved 2017-11-08.
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