San Angelo Museum of Fine Art

Z A N N E H O C H B E R GT H E A R T O F O U R T I M E

zannehochbergT H E A R T O F O U R T I M E

SEPTEMBER 9 – NOVEMBER 6, 2011

zannehochberg

THE ART OF OUR TIME

SEPTEMBER 9 –NOVEMBER 6, 2011

Above: Untitled, 1991, mixed media on canvas, 70 x 60 inches

Cover: Untitled, 1987 (detail, Figure13)

Preceding Title Page: Untitled, 1981, mixed media on canvas, 70 x 60 inches

zanne hochbergT H E A R T O F O U R T I M E

S A N A N G E L O M U S E U M O F F I N E A RT SS A N A N G E L O , T E X A S

SEPTEMBER 9 – NOVEMBER 6, 2011

Introduction by Howard Taylor

Essays by Jim Edwards and Bill Marvel

Photography by Laurie Smith

Curated by Howard TaylorExhibition Installation by John Mattson and Karen Zimmerly

The brilliant body of work created by the artist Zanne Hochberg

fits comfortably into the cutting edge post World War II abstract

expressionist movement. Her work stood out from the modernist or

advanced artists of Texas, the place where she lived for over three

decades. Although she created images that were out of sync with

the dominant aesthetic conventions of this region, she was widely

collected by individuals and several of the leading museums in Texas

including the Dallas Museum of Art, the Blanton Museum of Art

of the University of Texas and the Austin Museum of Art.

Abstract Expressionism had its scornful critics and powerful pro-

ponents. Based upon the international art market and abstract

expressionism’s influence on design and popular culture and its

presence in museum collections throughout the world, it is clearly

an approach to art that has prevailed. Its earliest practitioners and

the vast number who followed in their footsteps are enjoying mar-

ketplace resurgence and many younger artists are picking up on its core concepts.

In an article titled “Metamorphosis of the Stripe,”written by Judith Higgins and published in Art News in November

of 1985, she quotes the noted artist Sean Scully. “Abstraction’s the art of our age,” Scully says, “It’s a breaking

down of certain structures, an opening up. It allows you to think without making oppressively specific references,

so that the viewer is free to identify with the work. Abstract art has the possibility of being incredibly generous,

really out there for everybody. It’s a nondenominational religious art. I think it’s the spiritual art of our time.”

I N T R O D U C T I O N b y H O WA R D TAY L O R , D I R E C T O RS A N A N G E L O M U S E U M O F F I N E A R T S

Z A N N E H O C H B E R G

The Art of Our Time

1.

The gestural brush stroke which is laid down with immediacy and with-

out alteration along with large color stained passages are a characteris-

tic of many of the Abstract Expressionist artists and is seen throughout

Hochberg’s work. It gives the sense of an undisguised view of the artist

in the process of creating. The large-scale of the majority of her works

serves to envelop and engage the viewer, and reinforces the sense of

energy and immediacy. Although many artists created in this manner,

no two are alike, and, like handwriting, such paintings give deeper

clues to the nature of the individual.

One of the most recognized of the original Abstract Expressionists is

Willem de Kooning who defied the idea of total abstraction when

he created a series of somewhat frightening paintings of women. Zanne Hochberg in a number of her works

also introduced the figure and images of women (Figure 2) though one might observe they are more gentle and

engaging than those of de Kooning.

Hochberg’s late portraits are not an anomaly. They exude the same frenetic energy though now more focused

and with a powerful emotional intensity. They bring to mind Fayum mummy portraits from Roman Egypt of the

first to third centuries A.D. Those ancient painted faces looked out from time with humor and pathos and depicted

real people as their loved ones remembered them. The Hochberg portraits are deeply moving in a similar way.

The rebellious and convention breaking nature of Abstract Expressionism paralleled a period when civil rights, the

rights of women and defiance of societal norms came to the forefront. Hochberg was very much a woman of

her time who established a strong presence in the art world at a time when it was not common for women to do

so. She was not an innovator, but she employed the Abstract Expressionism vocabulary to create a compelling,

beautiful and important body of work. The San Angelo Museum of Fine Arts is pleased to present a retrospective

exhibition and catalogue of the career of this vital artist.

2.

Figure 1. Self Portrait, 1996, mixed media on canvas, 12 x 12 inches

Figure 2. Untitled, 1988, mixed media on canvas, 14 x 14 inches

Figure 3. London Bridge,1979, mixed media on canvas, 59 x 71 inches. Dallas Museum of Art, gift of Mr. and Mrs.Yanis Livathinos.

3.

J I M E D WA R D S , A R T H I S T O R I A N A N D C U R AT O R

Z A N N E H O C H B E R G

A Texas ModernistZanne Hochberg, born in Rochester, New York in 1931, was part of an important generation of artists that

participated in, and contributed to, the geographic expansion of Modernism outside of New York and the two

coasts. Artists born between the great world wars, matured in the 1960’s and 70’s, and migrated from New York

to smaller cities in the American West represent one of the more interesting aspects of the history of modern art

in American. These artists witnessed significant changes in the American art scene, especially during the first

wave of excitement that infused the New York art world during the great era of Abstract Expressionism from the

late 1940’s through the 1950’s. As contemporary art in New York was burgeoning, an expansion of advanced art

was occurring in American cities away from the east and west coasts. Hochberg was encouraged from childhood

to pursue her passions in art, dance and music and, as an adult, she became a painter who joined other artists of

her time in advancing modernist art in the American West.

Hochberg began her formal art education at the University of Florida in 1949, partially under the tutelage of Carl

Holty who introduced her to his extensive knowledge of European Modernism. He was one of the only American

artists to be selected for membership in the Abstract-Creation Group (Paris 1930’s) where he befriended leading

European abstractionists and later transferred these influences through his teaching of young American artists

like Hochberg.

In 1953, after completing her Bachelor of Arts degree at the University of Florida, Hochberg moved to New York

City. To live in New York during the heady time of Abstract Expressionism was exciting for young working artists

like Hochberg, even if exhibition opportunities for their own work were limited. This was a period of creative

gestation, a time when personal aesthetics were being formed and the rigors of mastering the craft of painting

were being put to the test. By the time Hochberg migrated to Dallas, Texas in the late 1950’s, the early influence

of Holty, the impact of east coast modern art, and her commitment to abstract painting were well-established.

By the 1970’s, Hochberg was creating highly individualized abstract paintings. She was closest in her working

methods to Helen Frankenthaler, who used thinned out paint to soak and stain the canvas, creating abstraction

with a particular lyrical quality. Frankenthaler’s early relationship with the critic Clement Greenberg and her

marriage to the first generation Abstract Expressionist painter, Robert Motherwell, provided intellectual support

and grounding for her unique, spontaneous approach to color and gesture. I believe that the lyrically evocative

quality found in Frankenthaler’s paintings were more than a simple formal attraction for Hochberg. Like

Frankenthaler, Hochberg intuitively believed in the over-arching idea that abstract painting can so please the eye,

that its arrangement of color and form defines a sense of beauty. In an interview with Deborah Solomon for the

New York Times Magazine, Frankenthaler stated, “What concerns me when I work is not whether the picture is

a landscape, or whether it is pastoral, or whether someone sees a landscape in it. What concerns me is – did I

make a beautiful picture?” Similarly, in an interview associated with a gallery exhibit, Hochberg commented, “I

use paint, brushes and canvas to weld together forms in paint so that they exist as beautiful paint and nothing

else.” Perhaps this idea was the unconscious driving force for Hochberg’s art. Recognizing the parallels between

Hochberg and Frankenthaler, Dana Friis-Hansen, former Director of the Austin Museum of Art juxtaposed works

by the two artists in the 2010 museum exhibition, Collection Selections.

In my own introduction to Hochberg’s paintings, I was struck by the fact that each composition seemed to stand

on its own. Each work certainly relates to one another; yet, when viewing a group of her large-scale abstractions,

one becomes attuned to their differences in composition and color and their singular disposition. Hochberg seems

not to have consciously worked on a series of images until her late small-scale portraits of family members. The

singular nature of her abstractions allowed her to freely explore gesture and color, whose movement and rhythm

are highly sensual in feeling.

Hochberg often provides an implied grid in her paintings – boxy squares that are lightly sketched in and then

worked against or into the surrounding brush strokes. This is particularly true of two large-scale abstract paintings

made in 1983 and 1985. The canvas, Untitled, 1983 (Figure 4) is the more sparsely painted of the two compositions.

The splashy colors are not so much held in check by the lightly sketched in grid, but tend to hover within the

space, surrounded by pencil thin lines streaking out across the picture plane to the very edge of the canvas. This

picture is the most Frankenthaler-like composition, and corresponds to what Frankenthaler once addressed

about her work when she said that the bare, unpainted portions of her paintings were left so her canvas could

“breathe.” Hochberg’s graffiti-like canvas titled, Jazz City, 1985 (Figure 5) is saturated with multi-colored scribbles

and drips, and seemingly defies the implied box grid beneath all the gestural paint handling. The dance of marks

across the surface of this canvas is almost Cy Twombly-like. Similar marks appear in darker, bolder tones in

Hochberg’s work, Untitled, 1975 (Figure 6). In speaking of her work, Hochberg once stated, “I deal with change

in my work by creating balance and order on a random surface – initiate gestural geometric and abstract forms

and work them into an order.” Hochberg seems to achieve this spontaneously wrought order as a result of quickly

executed marks fighting it out with the boundary of the grid and the rectangular shape of the canvas.


4.

Figure 5. Jazz City, 1985, mixed media on canvas, 60 x 70 inches

5.

Rather than a measured and planned approach to painting, Hochberg favored spontaneity. Her strongest images

express a sense of urgency, relying on the quickly painted mark. Hochberg’s picture Paris Gates, 1985 (Figure 9) is

remarkable for its sense of swift movement. A streaking black cloud-like form seems pushed to the center of the

composition by a smaller blue square of paint trailing behind. In terms of execution, Paris Gates is a “fast” picture,

perhaps matched in the speed of its brush marks by some of the ink drawings by Philip Renteria and the paintings

and graphics by Dick Wray. Untitled, 1985 (Figure 15) is a similar “fast” work. Hochberg’s large abstractions are

most successful when she allows the paint to drip, smear and splatter across the canvas. It is at these moments

that we sense the urgency of her first mark, then the accumulating marks which followed, adding up to palimpsest

traces – a working method, not unlike that made famous by the previously mentioned Cy Twombly.

Up to the period of her late portraits of family members, we think of Hochberg as primarily an abstract painter.

However, throughout her career she painted many mixed-media figurative works on paper and large-scale

figurative compositions on canvas. These works were mostly of women, either casually posed in a seated

position or in a standing dance movement (Figures 12, 13 and 27). The rhythm of the sketched-in-figures and

the loose paint application relate these figurative compositions to what she accomplished in abstraction. The

poses and dress of her models are elegant, as are the movements of the paint application. Hochberg painted her

figurative and abstract compositions simultaneously with some of her best figurative works completed during

the 1980’s and early 1990’s. She did not alter her approach in either case – the curly-cue swirl of hair surrounding

the head of a figure or the dots applied to a model’s dress are rendered as similar shapes in her abstractions.

Hochberg’s late series of small-scale portraits of family members painted during the last decade of her life, 1990-

2001, represent the culmination of her work as an artist (Figures 22-26, 31-33 and 37-44). Regardless of their

smaller scale, these evocative portraits are as important as any of her previous abstract and figurative paintings.

The portrait paintings were all elegantly framed by the artist and, at times,express a haunting quality. Hochberg’s

works are often expressive in a mode we equate with the portraits of Chaim Soutine, and evoke spiritual pathos

we associate with Georges Rouault.

In reading Ariel Evan’s essay, Zanne Hochberg: Rediscovering a Texas Modernist, I was struck

by the reproduction of an etching on which Hochberg added red and black acrylic paint, a la

Frank enthaler. What immediately impressed me about this work was how similar it was in

expressive color and form to a painting by Lee Deffebach. Although they did not know

each other, Def febach (1928-2005) and Hochberg (1931-2001) were contemporaries. Both

women were accomplished artists with good reputations in their home states – Deffebach

in Utah and Hochberg in Texas – and each spent time in New York at the height of the

Abstract Expressionist movement. However, in other ways they were distinctly different.

Untitled, 2000 etching and acrylic on paper6-1/2 x 9 inches

Deffebach was a tall, quiet woman, who spent her working career in Salt Lake City and summers isolated in

a small west Nevada mining town. In contrast, Hochberg was a small urbane woman who dressed with the flair

of a dancer and had a full family life as a wife and mother. Despite similarities and differences, as practitioners

of modernism, both Deffebach and Hochberg seemed out of place in their adopted locales.

While the majority of Hochberg’s career was spent in Texas, and as much as she was admired by fellow artists

and praised by regional critics, her approach to abstraction seemed not to fit with what had emerged in

contemporary art in Dallas. Her home town seemed almost antagonistic to the very idea of gestural abstraction,

favoring instead various forms of abstraction more attuned to hard edge, geometric and cubist inspired forms.

Hochberg’s paintings seemed more strongly related to east coast post-painterly abstraction and European

Tachism. However, working outside the Texas mainstream likely provided freedom that enhanced Hochberg’s

opportunity for creative expression. The late Ted Pillsbury, former museum director of The Kimball and Meadows

Museums, commented about Hochberg’s residence in Dallas, “There was no canon here. Here’s a place without

culture, without history. She could be entirely individual. She could be herself.”

Hochberg was an American female artist who advanced modernism in the American West. Some, more famously

like Georgia O’Keeffe and Agnes Pelton, tied their abstracted imagery to the desert landscapes where they

lived. It is difficult to imagine an O’Keeffe picture inspired anywhere other than the landscape of northern New

Mexico. The skies of New Mexico and the Mojave Desert of Southern California certainly influenced Pelton’s

paintings. Hochberg, however, brought her world of art with her to Texas. This was not a reaction against what

else was happening in contemporary art in Texas. Rather, Hochberg’s art reflected her life of travel in Europe,

South America, Mexico and throughout the United States, her love of America and European painting and

primitive works of art, and most importantly, the driving need to express herself in her own way beyond artistic

influences. Speculating about the driving forces behind Hochberg’s work, Ted Pillsbury commented, “I think she

was the kind of person who never wanted to be pinned down to a school or a particular style… Her art was a

means of expressing something about herself, her feelings, her life and the world, and beauty and truth; and,

she produced a very solid body of work. I think, arguably, over time, some of her work is going to be recognized

as being very important, influential and progressive.”

Personally, I find Zanne Hochberg’s art to be uniquely diverse and expressive. In a self-portrait, circa 1990 (Figure

44), a mixed media on canvas, she dons one of her famous hats; in this case, one that appears to be a beret.

Her head is cocked, an eyebrow raised, and she looks out towards us with a quizzical glance. We look back at

her portrait and, without having ever met her, know that she is an intense, intelligent and insightful woman.

She was also an accomplished painter who, through her hard work and study of art, made a place for herself in

the history of Texas art.


6.

Figure 7. Untitled, 1986, mixed media on canvas, 15-1/2 x 15-1/2 inches. Blanton Museum of Art, The University of Texas at Austin, gift of the Zanne L.R. Hochberg Family Trust, 2007

7.

Figure 8. Untitled, 1989, mixed media on canvas, 14 x 14 inchesBlanton Museum of Art, The University of Texas at Austin, gift of the Zanne L.R. Hochberg Family Trust, 2007

8.

Figure 9. Paris Gates, 1985, mixed media on canvas, 60 x 70 inches

9.

Figure 11. Untitled, 1966, oil on canvas, 50 x 40 inches


12.


13.


14.

Figure 16. Untitled, circa 1972, mixed media on canvas, 60 x 70 inches

16.

Figure 17. Untitled, 1965, oil on canvas, 50 x 40 inches

17.


18.

Figure 19. L’dor V’dor, 2001, mixed media on canvas, 50 x 40 inches

19.

B I L L M A R V E L , D A L L A S W R I T E R A N D F O R M E R A R T C R I T I C

P A I N T I N G S W I T H S O U L

Remembering ZanneI don’t remember who first told me about Zanne Hochberg. The Dallas Times Herald

had just hired me to cover the visual arts and I was making an effort to see as many

galleries and artists as possible. Somewhere along the way I was told there was a

woman in Highlalnd Park whose paintings were influenced by the New York school

of Abstract Expressionism. She had been taught at the University of Florida by Carl

Holty who had in turn been taught by Hans Hofmann. Hofmann had been an

important member of the New York school and also wielded considerable influence

among the so-called color-field painters, whose saturated canvasses had dominated

museum walls in the early 1960s.

By 1970 none of this seemed very promising. Abstract Expressionism and color-field

painting had run their course. Highland Park was a quiet, tree-shaded residential

neighborhood, hardly a hotbed of the arts. Locally, a kind of Texas funk was the

reigning style, a slash-and-burn takedown of stereotypical Texan imagery – cowboys, cactus & boots – that owed

a little to pop-art irreverence and the painterly distortions of German expressionism, and a lot to country music.

What of interest could be going on in Highland Park?

Zanne met me at the door, a small intense woman with dark lively eyes. She offered me a glass of iced tea then

led me out back to the garage, which at that time was serving as her studio. Sometimes a first look at a painting,

or a group of paintings, will catch you and hold you. It’s not immediately apparent what it is about them, but you

can’t turn away. An energy is at work, pulling your eyes over the canvas from event to event, from shape to

shape. As your eye moves, the painting is as much felt as seen.

Zanne told me a little about her approach. She would often turn a painting on its side or upside down. If it

wasn’t working on its top or side, she said, it wasn’t working at all. While she painted she would step back to study

her work – sometimes way back, even opening the garage door to step out into the alley for a fresh perspective.

As she painted Zanne listened to music, most often jazz. She had studied piano at the Eastman School in her

native Rochester, New York, and taken ballet lessons with a former ballerina from the Metropolitan Ballet Company.

Looking, listening, painting, moving were a single activity for Zanne, a seamless way to experience the world.

Larry and Zanne had filled their house with beautiful objects and with prints, paintings, and sculpture by other

artists. Wherever the eye landed it met something of interest. Zanne’s tastes were broad and generous. Most of

the works were by local artists, all of them working in styles quite different from her own.

This generosity and openness extended to the world at large. Her great booming laugh would explode whenever

something amused her. She savored life with the same intensity she brought to her painting. Her restless nature

would never permit her to accept the status quo or the easy way out, and in Larry she had found the perfect

partner. Since early in their marriage, Zanne and Larry had been actively involved in the struggle for civil rights.

They were active supporters of the arts, regulars at the Dallas Symphony and at local theaters.

And so each new group of paintings that came from her studio was full of fresh surprises. From the generations

of painters that went before, especially the Abstract Expressionists, Zanne had learned a vocabulary that

permitted her to tap her deepest resources. Each stroke was considered and reconsidered, until it rang with the

echo of a truth she recognized. Each stroke came heartfelt and hard won.

Figure 20. Café, 1987, mixed media on canvas, 40 x 50 inches

Figure 21. Michael Stuart Rosenthal, 1996, mixed media on canvas, 12 x 12 inches

20.

But the great surprise came after a trip she and Larry made to Europe. She constantly sketched what she saw

around her, and among the sketches she brought back were several made – literally – on paper napkins, of

people that had caught her eye lounging in sidewalk cafes (Figure 20).

She had long since mastered her art. She had taken abstraction as far, I believe,

as it can go and remain a human expression. Now she began using every-

thing she had learned about painting and life to produce an extraordinary

series of portraits.

Who are these faces that look out at us from jewel-like clouds of paint? The

subjects are all family members – her children, her husband, a brother (Figure

21). But mostly women – her grandmother, mother, aunts, nieces, cousins.

They are clearly women of an earlier era, strong, fashionable, but also some-

how haunted. There is an Old-World air about them, and also something of

the Upper New York State Jewish milieu in which Zanne grew up. Each is a

monumental presence. One instantly feels that one knows them, or at least

understands their pride, their sufferings and sorrows.

What can we say about these psychologically charged works? That, as always, Zanne painted with her whole

being, with total commitment, fierce energy, deep thought, and with something I think we can only call love.

Because they reach out, finally, to embrace the world, to look at it and not turn away, and to show us what she

saw. They have “soul” in the way that only a living creation can have a soul.

All this time we were thinking Zanne was looking inside herself, and now we discover she is looking out – at us.

Looking at us humans and our suffering and our struggle and our triumphs. And because Zanne has suffered,

has struggled and has triumphed, she understands us from the inside out, as it were. You can read in her

paintings what it means to be human.

No artist can have a larger subject.

21.

Figure 22. Esteen Hachenburg, circa 1998, mixed media on canvas, 12 x 12 inches

22.

Figure 23. Michael Stuart Rosenthal, 2000, mixed media on canvas, 14 x 14 inches

Figure 24. Untitled Portrait, circa 1998, mixed media on canvas, 12 x 12 inches

Figure 25. Untitled Portrait, 2000, mixed media on canvas, 12 x 12 inches

Figure 26. Archie Rosenthal, 1998, mixed media on canvas, 14 x 14 inches

23.

25.

24.

26.

Figure 27. Wedding, 1987, mixed media on canvas, 54 x 68 inches

27.


28.

30.

32.

31.

29.


Figure 30. Rabbi, 1959, oil on canvas, 24 x 18 inches


Figure 32. Claudia Hochberg, 1995, mixed media on canvas, 12 x 12 inches

Figure 33. Untitled Portrait, circa 1998, mixed media on canvas, 14 x 14 inches

33.


34.



35.

36.

Figure 37. Claudia Merle Hochberg, 1998, mixed media on canvas, 14 x 14 inches

Figure 38. Jonathan Mark Hochberg, 1996, mixed media on canvas, 16 x 14 inches

Figure 39. Pamela Hochberg Barrier, 1997, mixed media on canvas, 14 x 14 inches

37.

39.

38.

Figure 40. Lawrence Paul Hochberg, 1999, mixed media on canvas, 14 x 14 inches

40.


Figure 42. Claudia Merle Hochberg, 1998, mixed media on canvas, 12 x 12 inches


41.

42.

Figure 44.Self Portraitcirca 1990 mixed media on canvas14 x 12 inches

Zanne Hochberg was born Zanne Lee Rosenthal on

July 11, 1931 in Rochester, New York. As a child, she

studied art at the Rochester Memorial Gallery, piano

at the Eastman School, and took ballet lessons with

a former ballerina from the Metropolitan Ballet Com-

pany. Her deepest love was for the visual arts which

she pursued vigorously throughout her life. Zanne

Hochberg earned her Bachelor of Arts degree in paint-

ing from the University of Florida in Gainsville in 1953.

After spending several years working in interior design

and art related businesses in New York and Denver,

she moved to Dallas in 1958 and continued her

painting career. In 1974, Zanne Hochberg received a

Master of Fine Arts from Southern Meth odist Univer-

sity. She resided in Dallas as a working artist until her

death in 2001.

Museum Collections

2009 Austin Museum of Art, Austin, TX

2009 University of Texas at Dallas, Dallas, TX

2007 Blanton Museum of Art, Universityof Texas at Austin, Austin, TX

2004 Winthrop University Museum, Rock Hill, SC

1988 Mulvane Art Museum, Washburn University, Topeka, KS

1980 Dallas Museum of Art, Dallas, TX

Museum and University Exhibitions

2011 San Angelo Museum of Fine Arts,“Zanne Hochberg: The Art of Our Time,” Solo Exhibition, San Angelo, TX

2009-10 Austin Museum of Art,“Collection Selections,” Austin, TX

2004 Winthrop University, “Seeking the Center,” Solo Exhibition, Rock Hill, SC

1989 Meadows Museum, SouthernMethodist University, Solo Exhibition, Dallas, TX

1989 Laguna Gloria Art Museum,“Texas Women,” Austin, TX

1988-89 National Museum of Women in the Arts, “Texas Women,” Washington, DC

1988 Mulvane Art Museum, Washburn University, Solo Exhibition, Topeka, KS

1988 Brookhaven College, “Working Papers,” Dallas, TX

1981 El Centro College, Dallas, TX

1974 Pollack Galleries, Meadows Schoolof the Arts, Southern Methodist University, Dallas, TX

Z A N N E H O C H B E R G • T H E A R T O F O U R T I M E

Biography and Exhibition History

1971 Sewall Gallery at Rice University, Southern Methodist University, Graduate Exhibit, Houston, TX

1967 Masur Museum of Art, Monroe, LA

1966 Butler Institute of American Art, Exhibition of Painting and Sculpture,Youngstown, OH

1966 Dallas Museum of Art, Annual Paintingand Sculpture Exhibit, Dallas, TX



1955 Denver Museum of Fine Arts, Denver, CO

Gallery Exhibitions

2006 Flatbed Press, Solo Exhibition, Austin, TX

2005 IR Gallery, Solo Exhibition, Dallas, TX

1995 State Thomas Gallery, Solo Exhibition, Dallas, TX

1994 Collections Rare Gallery, Solo Exhibition, Dallas, TX

1994 Manchester Institute of Arts and Sciences, Manchester, NH

1993 Marin-Price Galleries, Solo Exhibition, Chevy Chase, MD

1992 Belles Artes, Group Exhibition, New York, NY

1991 Neuhoff Galleries, Solo Exhibition, Dallas, TX

1989 Galerie Gorpal, Dallas, TX

1983 Contemporary Gallery, Solo Exhibition, Dallas, TX

1982 Clifford Gallery, Solo Exhibition, Dallas, TX

1981 Weiner Gallery, Solo Exhibition, Topeka, KS

1979 500 Exhibition Gallery, Dallas, TX

1979 Clifford Gallery, Solo Exhibition, Dallas, TX



1972 Dallas Summer Arts Festival, Dallas, TX


1968 Oklahoma Art Center, Eight State Exhibition of Painting and Sculpture, Oklahoma City, OK

1967 Atelier Chapman Kelly, Dallas, TX

1967 Longview Art League, Ninth Annual Invitational Exhibition,Longview, TX

1966 Juried Arts National Exhibition, Tyler, TX

1959 D.D. Feldman Exhibit, Dallas, TX

1955 Seventh Annual Metropolitan Exhibit, Denver, CO

Selected Public Collections

American Airlines, Dallas TX

Cadillac Fairview, Dallas, TX

Coldwell Banker, Dallas, TX

Adolphus Tower, Dallas, TX

Southwestern Medical School, Dallas, TX

Murchison Oil and Gas Collection, Dallas, TX

Ice House, San Francisco, CA


Catalogue Checklist

Title Page: Untitled, 1981mixed media on canvas70 x 60 inchesZanne Hochberg Family Trust

Frontispiece: Untitled, 1991mixed media on canvas70 x 60 inchesZanne Hochberg Family Trust

Figure 1. Self Portrait, 1996mixed media on canvas12 x 12 inchesLawrence Hochberg Collection

Figure 2. Untitled, 1988mixed media on canvas14 x 14 inchesZanne Hochberg Family Trust

Figure 3. London Bridge, 1979mixed media on canvas59 x 71 inchesDallas Museum of Art, Gift ofMr. and Mrs. Yanis Livathinos


Figure 5. Jazz City, 1985mixed media on canvas60 x 70 inchesPamela Barrier Collection

Figure 6. Untitled, 1975mixed media on canvas50 x 40 inchesPamela Barrier Collection

Figure 7. Untitled, 1986mixed media on canvas15-1/2 x 15 -1/2 inchesBlanton Museum of Art, AustinThe University of Texas at Austin,Gift of the Zanne L.R. HochbergFamily Trust, 2007

Figure 8. Untitled, 1989mixed media on canvas14 x 14 inchesBlanton Museum of Art, AustinThe University of Texas at Austin,Gift of the Zanne L.R. HochbergFamily Trust, 2007

Figure 9. Paris Gates, 1985mixed media on canvas60 x 70 inchesPamela Barrier Collection


Figure 11. Untitled, 1966oil on canvas50 x 40 inchesPamela Barrier Collection

Figure 12. Untitled, 1987mixed media on canvas60 x 70 inchesLawrence Hochberg Collection

Figure 13. and Front Cover (detail)Untitled, 1987mixed media on canvas60 x 70 inchesZanne Hochberg Family Trust



Figure 16. Untitled, circa 1972mixed media on canvas60 x 70 inchesZanne Hochberg Family Trust

Figure 17. Untitled, 1965oil on canvas50 x 40 inchesZanne Hochberg Family Trust


Figure 19. L’dor V’dor, 2001mixed media on canvas50 x 40 inchesZanne Hochberg Family Trust

Figure 20. Café, 1987mixed media on canvas40 x 50 inchesLawrence Hochberg Collection

Figure 21. Michael Stuart Rosenthal, 1996 mixed media on canvas12 x 12 inchesJonathan Hochberg Collection

Figure 22. Esteen Hachenburg, circa 1998mixed media on canvas12 x 12 inchesLawrence Hochberg Collection

Figure 23. Michael Stuart Rosenthal, 2000 mixed media on canvas14 x 14 inchesLawrence Hochberg Collection

Figure 24. Untitled Portrait, circa 1998 mixed media on canvas12 x 12 inchesPamela Barrier Collection

Figure 25. Untitled Portrait, 2000mixed media on canvas12 x 12 inchesLawrence Hochberg Collection

Figure 26.Archie Rosenthal, 1998mixed media on canvas14 x 14 inchesLawrence Hochberg Collection

Figure 27. Wedding, 1987mixed media on canvas54 x 68 inchesLawrence Hochberg Collection


Figure 29. Untitled, circa 1990mixed media on canvas20 x 16 inchesLawrence Hochberg Collection

Figure 30. Rabbi, 1959oil on canvas24 x 18 inchesLawrence Hochberg Collection


Figure 32. Claudia Hochberg, 1995mixed media on canvas12 x 12 inchesClaudia Hochberg Collection

Figure 33. Untitled Portrait, circa 1998mixed media on canvas14 x 14 inchesLawrence Hochberg Collection



Figure 36. Untitled, circa 1989mixed media on canvas12 x 12 inchesPamela Barrier Collection

Figure 37. Claudia Merle Hochberg, 1998mixed media on canvas14 x 14 inchesClaudia Hochberg Collection

Figure 38. Jonathan Mark Hochberg, 1996 mixed media on canvas16 x 14 inchesJonathan Hochberg Collection

Figure 39. Pamela Hochberg Barrier, 1997mixed media on canvas14 x 14 inchesPamela Barrier Collection

Figure 40. Lawrence Paul Hochberg, 1999mixed media on canvas14 x 14 inchesLawrence Hochberg Collection


Figure 42. Claudia Merle Hochberg, 1998mixed media on canvas12 x 12 inchesClaudia Merle Hochberg

Figure 43.Untitled Portrait, 1990mixed media on canvas50 x 40 inchesLawrence Hochberg Collection

Figure 44. Self Portrait, 1990mixed media on canvas14 x 12 inchesPamela Barrier Collection

Back Cover:Untitled Portrait, 1999mixed media on canvas14 x 12 inchesLawrence Hochberg Collection

September 9 – November 6, 2011San Angelo Museum of Fine ArtsSan Angelo, Texas 76903

An exhibition organized by Howard Taylor, Director, San Angelo Museum of Fine Arts.

Copyright © 2011 San Angelo Museum of Fine ArtsFirst edition of 1500 copies

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,electronic or mechanical, including photocopying, recording, or information storage or retrieval systems without permission in writing from the publisher.

Catalogue Design: WinshipPhillips, www.winshipphillips.com

ISBN: 978-0-615-52144-2www.samfa.org


A C K N O W L E D G E M E N T S

The San Angelo Museum of Fine Arts is deeply grateful to Beverly and Ben Stribling and the Beverly and Ben

Stribling Special Exhibition Trust of the San Angelo Museum of Fine Arts, Randy Coleman,the San Angelo Cultural

Affairs Council, Laurie Smith Photography, Bill Marvel and Olmsted-Kirk Paper Company for their generous sup-

port of the catalogue and exhibition. We are grateful to the Blanton Museum of Art and Curator of American Art

and Director of Curatorial Affairs, Annette DiMeo Carlozzi, for lending two important works to this exhibition.

Another important contribution is the historical research on Zanne Hochberg conducted by Ariel Evans as she

was completing graduate work at the University of Texas at Austin. Zanne Hochberg’s daughter, Pamela Barrier,

and her family were deeply supportive, ever helpful and truly delightful to work with.

L E N D E R S T O T H E E X H I B I T I O N

Blanton Museum of Art, Austin • Claudia Hochberg Collection • Jonathan Hochberg Collection

Lawrence Hochberg Collection • Pamela Barrier Collection • Zanne Hochberg Family Trust

San Angelo Museum of Fine Arts | One Love Street | San Angelo, Texas 76903 | Phone: 325-653-3333 | Fax: 325-658-6800 | Email: [email protected]

The San Angelo Cultural Affairs Council has provided funding in support of this catalogue and exhibition.

Untitled Portrait, 1999, mixed media on canvas, 14 x 12 inches

San Angelo Museum of Fine Art

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