Gloria Klein developed systems and processes to experiment with palettes and compositions that result in intricate patterns ranging from the highly structured to the completely chaotic and every variation in between. The interplay of order and disruption plays a vital role in Klein’s practice, who came of age in 1970s New York. Klein’s slender hard-edged hatch marks of varying lengths were core to her expression. Like a single sewing stitch only makes one mark, collectively hundreds and thousands of them create intricate patterns and complex compositions. Her systematic paintings and drawings from the 1970s are belied by their exuberant color and form. They can be read as Minimalist, Conceptual, and systems-based, but they are also indebted to the burgeoning support for ‘women work’ and the Pattern & Decoration movement. Her legacy of advocacy on behalf of women and lesbian artists, such as herself, has long been excluded from the art historical canon.
Gloria Klein (b. 1936, Brooklyn, NY; d. 2021) began her adult education with a BA in Economics at the Brooklyn College, City University of New York. Following which she attended the Brooklyn Museum School of Art, the Art Students League of New York, and finally in 1970 she enrolled at Hunter College where she took classes with conceptual artist Robert Barry and Robert Swain. She obtained her MA in art from Hunter College in 1973. Klein exhibited widely in group and solo exhibitions throughout the 1970s and 80s including at Hunter College, New York, NY; The Brooklyn Museum, Brooklyn, NY; The Aldrich Museum, Ridgefield, CT; P.S.1., Long Island City, NY; 112 Workshop, New York, NY; and A.I.R., New York, NY, among many others.
During her lifetime, Klein was awarded several awards, including artists’ residences, scholarships, and grants such as the International Women’s Year Award (1975-76); Studio Space at Vermont Studio School, Johnson, VT (1988); Honorable Mention, Turchin Center for Visual Arts, Boone, North Carolina (2005); Adolph & Esther Gottlieb Foundation Grant (2005), and Pollock/Krasner Foundation Grant (2007). Her work can be found in many private and public collections and corporate. Among the institutions, we can mention the Dallas Museum of Art, Dallas, TX and The Blanton Museum of Art at the University of Texas at Austin. Some of the corporates include Chase Manhattan Bank, Chemical Bank, Citibank, Lehmann Brothers Corporation, Sherman and Sterling, Swiss Reinsurance Company, and Texaco, to name a few. In 2024, Anat Ebgi presented the first solo exhibition of Klein’s work in Los Angeles.