Anna Plesset

Beyond thrilled with this thoughtful and comprehensive review of “Women Reframe American Landscape” by Philip Kennicott @philip_kennicott in @washingtonpost Link in bio. The exhibition is on view until Oct 29th @thomascolesite

Thank you @oritgat and @eflux for including “American Paradise” @jackbarrettgallery in this roundup! Thrilled to be featured alongside @thebrittanynelson @luhringaugustine @sofiasinibaldi @chapterny Anna Rubin @maxwellgrahamgallery Jason Rhoades @hauserwirth

Posted @withregram • @thomascolesite • Elated to see these words by Travis Diehl for the @nytimes “A poster in the stairwell by the Guerrilla Girls demystifies the Hudson River School’s boys’ club, while Anna Plesset’s trompe l’oeil painting-of-a-painting, Thomas’s autumnal view of the Cole manse as copied by his sister, Sarah, shows the complexity of the Hudson School legacy.” Congrats to @kmenconeri @amanda_malm105 @siegel3297 and the whole @thomascolesite team!

Repost from @metamericanwing A closer look: Ducks in the Woods (1875) by Julie Hart Beers (1835-1913) with artist Anna Plesset.

Sharing some words I wrote on landscape, motherhood, and the patriarchal influence on art history in honor of my dear friend Lumin. Thank you @elizabethbuhe and @brooklynrail for including me in this beautiful tribute. Please check out the full tribute with moving contributions from @elizabethbuhe @angeldufuche @amyplincoln @erika_mahr @loiehollowell @hendrikgerrits @vince_contarino @harperlevine22 @maureencavanaugh @loisdoddofficial @yes_precisely and @claudiapenasalinas

@brooklynrail just published their beautiful tribute to @luminw (link in bio). I am endlessly grateful to @elizabethbuhe for championing and organizing this effort. Her insightful writing made Lumin feel seen and understood - I know she would have felt the same about this piece. Thank you to @maureencavanaugh @angeldufuche @amyplincoln @erika_mahr @annaplesset @loiehollowell @vince_contarino @harpersbooks and @claudiapenasalinas for your contributions. It is so daunting and impossible to honor someone you love with only words, but I am grateful that you did.

This is a detail of “Value Study 10: In the Catskills, Looking Towards Hunter Mountain / Copied from a picture by V. C. T. / n.d.”, oil and graphite on canvas, 9 x 14 inches. Virginia Chandler Titcomb was a 19th century artist who had a successful career, not just as a landscape painter, but also as a photographer and sculptor. She maintained studios across the New York area, including at 101 Lafayette Avenue in Brooklyn. “Value Study 10” is part of a larger series of trompe l’oeil paintings that give visibility to several 19th-century women landscapists who were successful and active in their lifetime but who have been largely omitted from the canon.

I had the pleasure of contributing to a new audio guide for the Met produced for the major reinstallation of the American Wing on the occasion of its 100th anniversary. I was invited to talk about the recent acquisition of “Ducks in the Woods” by Julie Hart Beers, only the second painting by a 19th-century woman landscapist and the second by Beers to be acquired by the museum. If you find yourself at the museum, head to gallery 761 to see the painting and listen. Or you can check it out online–link in bio (audio stop 4030). Thank you @metamericanwing for the invitation!

Here’s an installation shot and some details of ‘Value Study 9: View of the Connecticut River Valley / Copied from a picture by A.T.O / 1854’ hanging alongside works by @xavier_veilhan in the show ‘Light of Winter,’ on view @perrotin until Dec. 21st. Value Study 9: View of the Connecticut River Valley / Copied from a picture by A.T.O / 1854 2024 Oil and graphite on canvas 17.75 x 24 inches 🙏🙏 @ylinkabarotto @margotbravi_art 📸 Installation view of the group exhibition "Light of Winter" at Perrotin New York, 2024. Photographer: Guillaume Ziccarelli. Courtesy of the artists and Perrotin.

I’m excited to be showing this new painting in the group show ‘Light of Winter’ @perrotin - opening reception tomorrow from 5-8 pm. Hope to see you there! ✨Thank you for including me @ylinkabarotto @margotbravi_art ✨ Value Study 9: View of the Connecticut River Valley / Copied from a picture by A.T.O / 1854 2024 Oil and graphite on canvas 17.75 x 24 inches “Anna Plesset’s trompe l’oeil painting is part of a larger series of works that reframe the history of the Hudson River School to give value and visibility to the many women who were affiliated with this iconic 19th-century movement but who have been largely omitted from the canon. Plesset, who is known for work that interrogates the processes that create historical narratives, creates a to-scale reproduction of an 1854 painting by the American landscapist Abigail Tyler Oakes. However, in Plesset’s hands, the “copy” is in-progress and being painted from what appears to be a printed screenshot of a Google search result for the original work. Rendered in a staggering trompe l’oeil technique, this “source material,” framed within the larger unfinished copy, makes visible the ongoing work of historical recovery.”

It’s the last week to see “American Paradise” @jackbarrettgallery This painting, “Value Study 7: Camel’s Hump, Vermont / Copied from a picture by Laura Woodward / 1877,” reveals my process while making visible the ongoing act of historical recovery. Value Study 7: Camel’s Hump, Vermont / Copied from a picture by Laura Woodward / 1877, 2024. Oil and graphite on canvas, 14 x 24 inches.

These are two Value Study paintings referencing Louisa Davis Minot's 1818 paintings, both titled "Niagara Falls." Part of a series in which I'm copying the works of several women associated with the Hudson River School, each of these is the same size and facture as Minot's original works. Only in my versions, the copies are in progress and are being painted from what look like printed screenshots of Google search results depicting the original artworks taped to the linen. This reference material, all painted using trompe l'oeil, are like paintings within the larger paintings and are the actual true copies of Minot's work. In each Value Study painting, the unfinished part of the painting along with the trompe l’oeil portion make visible the act of historical recovery and acknowledge that work as always in progress. Value Study 2: Niagara Falls / Copied from a picture by Minot / 1818 2021 Oil and graphite on linen 30 x 40 3/4 inches Value Study 3: Niagara Falls / Copied from a picture by Minot / 1818 2022 Oil and graphite on linen 30 x 40 3/4 inches On view in my show "American Paradise" @jackbarrettgallery until October 19th.