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Mira LehrEco Feminist Mixed Media Botanic Painting Mira Lehr Miami Abstract Expressionistc.2008-2009
c.2008-2009
$1,200
£905.61
€1,036.78
CA$1,692.40
A$1,858.04
CHF 969.34
MX$22,484.89
NOK 12,149.23
SEK 11,447.77
DKK 7,739.31
About the Item
Mira Tager Lehr (American, 1936-2023),
Acrylic on canvas painting
Interrupted Cell Formation series
Circa 2008-2009.
Mixed media technique incorporating organic forms, floral motifs, and layered textures on canvas surfaces, finished with a clear gloss coating.
Hand signed, titled, and dated verso
Dimensions: 13.5 X 13.5 X 1 in. frame. Artwork is 11.5 X 11.5
Mira Lehr (1934 – 2023) was an American multidisciplinary artist. Her work encompassed painting, design, sculpture, and video installation. Lehr created abstract works inspired by the natural world.
She was born Myra Tager, in Brooklyn, the daughter of Charles I. Tager, a successful office goods manufacturer, and Pauline (Pearl) Goodstein. Myra's parents took the family to Miami Beach each winter, and moved there permanently in 1942. After graduating in art history from Vassar College, New York State—where she modified her first name to Mira and was taught by the feminist art historian Linda Nochlin—Mira married David E. Lehr, then a doctor in the Army Medical Corps, and did postgraduate work at the Boston Museum School while he trained in cardiology. When they moved to New York City the following year, Mira studied at the Museum of Modern Art and started to delve in the world of Abstract Expressionism. She studied with James Brooks, Ludwig Sander, and Robert Motherwell, and met Joan Mitchell, Lee Krasner, Louise Bourgeois and Helen Frankenthaler.
Lehr received a degree in art history from Vassar College in 1956, where she studied under Adolf Katzenellenbogen, Wolfgang Lotz, and notable feminism art historian Linda Nochlin. After college she did post-graduate work at the School of the Museum of Fine Arts, Boston and received a Rockefeller scholarship that supported a studio in Carnegie Hall. Lehr studied with a range of artists through her career, including Abstract Expressionist James Brooks, James Billmyer, Nieves Marshaleck Billmyer (Hans Hofmann School) and Robert Motherwell. Although she maintained her studio practice consistently, she didn't start widely exhibiting her work until the 1980s.
In 1960 Lehr moved back with her husband to Miami Beach, where she had been raised. She described the lack of art scene and cultural vibrancy as being "like a desert island.” She and a contingent of other female artists founded Continuum Gallery, which lasted into the 1990s. It was among the first women's co-op gallery spaces in the South East, and many of its founders are still involved with the now-burgeoning Miami art scene. Many art world luminaries came to lead workshops, speak and interact with the members, including Betty Parsons, John Chamberlain and Buckminster Fuller. Lehr was later selected by Fuller in 1969 to work on the first World Game Scenario Project at the New York Studio School.
Working with imagery from the natural world, Lehr creates layered abstract compositions with unconventional materials. 60 Minutes correspondent Morley Safer referred to her as "the mistress of light". The lush flora of her Florida home has a profound influence on her aesthetic vocabulary. Lehr seeks to express the natural world's essence and patterns, so that her artwork expresses the reality of nature better than a naturalistic rendering. On closer inspection, they reveal a myriad of contrasts — natural imagery with abstract gesture, dense planes with translucent washes, and rich, abraded textures with a crisp, contemporary structure. Art historian Irving Sandler describes her use of imagery thus: “What makes Lehr's work different is the specificity of her references to nature. I was trying to think of any other artist working in this tradition who did it quite as explicitly as Mira did and I couldn’t come up with one".
Lehr played with things intangible and impermanent- in her sculptures, for example, the shadows created on the wall are as much a part of the piece as the physical objects. With her use of poured resin in her paintings, the spaces that separate layers are integral marks themselves.
Lehr's work has been noted for its environmentalist connotations; one exhibition, "The Pull of the Tide” in Miami, was particularly explicit about its intentions. Coastlines, which are fragile ecosystems, are threatened by pollution and development. While the sculptures are seductively beautiful, they are partially made of politically charged materials, including jute hemp, whose purpose is to prevent land from eroding. Lehr created forms that resemble jellyfish, which can regenerate themselves. She describes taking inspiration from the cycle of nature- we have polluted and overfished the oceans, but they are now threatening to encroach on our developed world.
Asian influence
Many critics have commented upon an Asian or Japanese influence, particularly in her choice of materials and processes; Lehr uses Japanese paper, ink, lacquer, and woodblock printing in her work. The deliberate and balanced compositions are reminiscent of scroll-painted landscapes.
Critic Courtney Powers Curtiss emphasized how Lehr's paintings have a spirituality associated with nature that is found in many Asian belief systems.
Historian Eleanor Heartney's take: "The hanging moons, silhouetted bellflowers and expressive freestyle lines do evoke an Asian aesthetic. But in fact, Lehr was well on her way to this approach to art before she began to fully appreciate Asian art. Instead the connection must be sought at a deeper level. Lehr's work, like that of the Japanese masters, is based on a honing down, and a sense of disciplined restraint. Lehr's interest in haiku comes out of this approach. Like those highly structured and deeply minimalist poems, in which a whole world is evoked with a few words or a simple metaphor, she is interested in creating a reality in which a few forms and lines speak volumes."
Lehr started experimenting with explosives in her work. She uses gunpowder and fuses, which burn holes and leave imprints on her layered paintings. The resulting forms resemble lace with an uncontrolled, grainy quality. She describes her use of explosives as tying into the theme of creation versus destruction, which is integral to the cycle of nature.
Lehr also expanded her practice to include resin, Japanese rice paper, and steel wire. She also uses marine rope to create large scale mangrove root sculptures.
Lehr exhibited widely in the United States, particularly New York and Florida, and internationally with the Art in Embassies program. Her pieces have been included in exhibitions and archives of the New Museum, the Smithsonian Museum of American Art, and the Getty Museum. She was included in a collection of Miami artists at the Metropolitan Museum in NYC along with Tom Virgin, Michael Loveland, Cristina Lei Rodriguez, Michele Oka Doner, Jose Iraola, and Rafael Domenech.
In 2015 a retrospective, titled Mira Lehr: Mapping Nature, was held at Rosenbaum Contemporary in Florida.
Throughout her career she collaborated with design companies Holly Hunt and Stephanie Odegard, for whom she designed handmade silk and wool tapestry rug pieces. In 2016, Lehr was invited to have a solo show at the Fairchild Tropical Gardens titled Second Nature. Shortly after, Lehr was commissioned to create an outdoor sculpture in celebration of the Vizcaya Museum and Gardens centennial. This outdoor sculpture served as a performance set for the opera Dido and Aeneas. In 2018 Lehr was selected for a museum wide exhibition at the Museum of Contemporary Art, North Miami, titled Tracing the Red Thread. It referred to the complex environmental situation we find ourselves in today. USA Today named one of the must-see exhibitions of fall 2018. Artnet also listed the exhibition as one of "33 Museum Shows Worth Traveling For." The exhibition subsequently traveled to Fritz Gallery, and to the Orlando Mennello Museum of American Art in 2020. Mangrove sculptures from the exhibition were part of a special project at Pinta Miami, Ad-Astra, held at Mana Contemporary during Art Basel 2018. 2019 also included a solo show at the Jewish Museum of Florida. Her paintings, sculptures, and installations are in numerous museum collections including the Boca Raton Museum of Art, the Orlando Museum of Art, and the Pérez Art Museum Miami.
Publications
Lehr, Mira with Eleanor Heartney, Larry Littany Litt, Cristina Maria Molina
Mira Lehr: Tracing the Red Thread. Silver Hollow Press.
Lehr, Mira with Eleanor Heartney, Thom Collins and Irving Sandler
Mira Lehr: Arc of Nature. Hudson Hills.
Barter, Judith American Modernism Art Institute of Chicago. Yale University Press.
Clemence, Paul and Julie Davidow Miami Contemporary Artists. Schiffer Publishing
- Creator:Mira Lehr (American)
- Creation Year:c.2008-2009
- Dimensions:Height: 13.75 in (34.93 cm)Width: 13.75 in (34.93 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38216944142
Mira Lehr
Mira Lehr graduated from Vassar College in 1956 with a degree in art history, where she studied under the mentorship of Linda Nochlin, the renowned feminist art historian.
In the 1950s, Lehr lived and worked in New York as an artist, where she studied with James Brooks, Ludwig Sander, Robert Motherwell, and within the Hans Hofmann circle. During this time, she met some of America’s most prominent masters including Joan Mitchell, Lee Krasner and Helen Frankenthaler.
When Lehr moved to Florida in 1960, she was shocked at the lack of an art scene, especially for women. She founded Continuum in 1960, one of the country’s first co-ops for women artists, which flourished for more than 30 years until the mid-‘90s. During this period, Lehr convinced many of the masters she met in New York to visit and lead workshops. This helped the evolution of art in Florida, earning her acclaim as "The Godmother of Miami's Art Scene."
In 2014, her work was the subject of a monograph, Mira Lehr: Arc of Nature, which included an essay by Irving Sandler and has recently been the subject of solo exhibitions at the Museum of Contemporary Art in North Miami, the Jewish Museum of Florida and the Mennello Museum of Art in Orlando, Florida.
Her work can also be found in numerous private and public collections including the permanent collections of the Orlando Museum of Art, the Perez Art Museum of Art in Miami and the Bass Museum of Art in Miami Beach in Florida; the Vassar College Library in Poughkeepsie, New York; and the American embassies in Dhaka, Bangladesh; Sofia, Bulgaria; Mexico City, Mexico; and Bucharest, Romania.
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