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summer of 1962 at The Skowhegan School and Painting & Sculpture, Fish began capturing the
physical world through painting landscapes, proving to be a breakthrough in her artistic practice.

Starting in the later 1960s, Fish began to paint mundane objects in her studio. As she explored
more subjects, she became drawn to (and amused by) the look of commercial products, such as
cellophane-encased packages of supermarket fruit and Windex bottles. Fascinated by the way
light would travel through and animate translucent and clear objects, she focused her paintings
on these objects and the effects of light in increasingly large canvases. The banality of these
mass-produced items had a Pop art sensibility, but the beauty of the paint and brushwork was
uniquely her own. She insisted that her subject matter was unimportant, for her work was not
about narrative. For Fish, meaning was determined by the energetic application of paint,
dynamism of luminosity, textures, color, and scale.

Following her success with painting in the 1970s, Fish felt the need to further challenge herself.
She started bringing the outside world into her works, no longer making them self-contained
worlds. She continued to explore this expanded point of view until, because of physical limitations,
she stopped painting in 2009. Her work in the 1980s saw the beginning of Fish embracing slices
of landscape, both urban and rural, the translucent quality of flowers, and figures––friends,
neighbors, and pets. Fish still allowed the concept of light to carry the energy and movement
within her artwork, with color being the most essential attribute. The considerable time required
to create these elaborate paintings only allowed Fish to complete a limited number each year.

Football (1986) captures Fish’s insatiable desire to

push her painting and to explore a multitude of subjects
during this period. This painting highlights the
innovations that Fish brought to her work of the 1980s
and serves, according to art critic Gerrit Henry, as “an
homage to the American way of life…in its attitude of
indulgence toward all these passions. It’s a giant
masterpiece of wit leavened by hunger, private humor
offset by sociocultural realities.” A television sits on a
table, tuned to a football game. The sports section of a
newspaper and a multitude of snack foods are strewn
across the table in front of the TV. Beyond the table,
cars pass by on the street below. Light plays a key part
in the nighttime scene, with the artificial light of the TV
illuminating the room. Fish depicts the light bouncing
off of and surrounding the objects, creating spaces of
brightness and darkness, with shadows stretching
across the wooden floor.

Works by Janet Fish are included in many museum

collections, including the Art Institute of Chicago;
Brooklyn Museum; Buffalo AKG Art Museum;
Cleveland Museum of Art; Dallas Museum of Art;
Detroit Institute of Arts; The Metropolitan Museum of Football, 1986. Oil on canvas, 70 x 50 inches.
Art; Museum of Fine Arts, Boston; National Gallery of
Art, Washington, DC; Pennsylvania Academy of the Fine Arts; Smithsonian American Art
Museum, Washington, D.C.; Whitney Museum of American Art; and Yale University Art Gallery.
Janet Fish lives in New York City and rural Vermont.

DC Moore Gallery specializes in contemporary and twentieth-century art. The gallery is open Tuesday
through Saturday from 10am-6pm. For more information, photographs, or to arrange a viewing please
call 212-247-2111 or email Caroline Magavern at cmagavern@dcmooregallery.com.