At 18, Corita Kent (1918-1986) entered the Roman Catholic order of
Sisters of the Immaculate Heart of Mary in Los Angeles, where she
taught art and eventually ran the art department. After more than
30 years, at the end of the 1960s, she left the order to devote
herself to making her own work. Over a thirty-five-year career she
made watercolors, posters, books and banners--and most of all,
serigraphs--in an accessible and dynamic style that appropriated
techniques from advertising, consumerism and graffiti. The earliest
of it, which she began showing in 1951, borrowed phrases and
depicted images from the Bible; by the 1960s, she was using song
lyrics and publicity slogans as raw material. Eschewing convention,
she produced cheap, readily available multiples, including a
postage stamp. Her work was popular but largely neglected by the
art establishment--though it was always embraced by such design
luminaries as Charles and Ray Eames, Buckminster Fuller and Saul
Bass. More recently, she has been increasingly recognized as one of
the most innovative and unusual Pop artists of the 1960s, battling
the political and religious establishments, revolutionizing graphic
design and making some of the most striking--and joyful--American
art of her era, all while living and practicing as a Catholic nun.
This first study of her work, organized by Julie Ault on the
twentieth anniversary of Kent's death, with essays by Ault and
Daniel Berrigan, is the first to examine this important American
outsider artist's life and career, and contains more than 90
illustrations, many of which are reproduced for the first time, in
vibrant, and occasionally Day-Glo, color.
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