Remembering the World of Bettina, Resident Artist of the Chelsea Hotel
A living artist carries on the legacy of another, through important intersections and convergences of their work.
Yto Barrada, Lucy Gallun
Feb 23, 2022
I believe the scandal was that Bettina was overlooked, like so many female artists of her generation.
I believe the scandal was that she was overlooked, like so many female artists of her generation. She had a hostile relation to art critical discourses. She wrote about her art and her ideas. I imagine that Bettina would quote Ginger Rogers: “I did everything Fred Astaire did, but backwards and in heels.” Her work has been an inspiration to me and to others and I want to share her accomplishments with wider audiences. We are publishing a book (with EXB and Aperture, co-authored with Gregor Huber, who is also the book’s designer), which offers a first overview of a large selection of Bettina’s projects, including her Xerox text and image compositions, her paintings with tape, her stained glass panels, sculptures, and prints. An exhibition in conjunction with the book release will open in Arles, France, in July. [The book was the winner of the Luma Rencontres Dummy Book Award Arles in 2020.] There is a long history of artists championing—and being nourished by—the work of other artists; my relationship with Bettina is part of that tradition.
Page of one of Bettina’s albums