Mission
The mission of the Deborah Remington Trust for the Visual Arts, established in 2010, is to preserve the creative legacy of Deborah Remington (1930-2010).
Its primary responsibilities are to facilitate the placement of the artist’s work in public collections and to promote public awareness of her life and work through scholarly research and documentation, exhibitions, publications and educational and collaborative projects.
Grants and Projects
Since 2010, the Deborah Remington Charitable Trust for the Visual Arts has made grants to the following institutions:
Ann Sperry Papers at Miriam Shapiro Archives on Women Artists, Rutgers University Libraries, New Brunswick, NJ
Artist-Endowed Foundation Institute, Aspen, CO
Colorado Public Television, Denver, CO
DEAI Projects
Elizabeth Foundation for the Arts, New York, NY
National Academy of Design, New York, NY
Palm Springs Art Museum, Palm Springs, CA
Special Collections & University Archives, Rutgers University Libraries, New Brunswick, NJ
Rutgers University Foundation for Heresies Collective, Inc., New Brunswick, NJ
San Francisco Art Institute Library, San Francisco, CA
San Francisco Art Institute Legacy Foundation + Archive, San Francisco, CA
The Cooper Union for the Advancement of Science and Art, New York, NY
University of New Mexico Foundation, Albuquerque, NM
Grants are by invitation only.
Video: Deborah Remington Retrospective
Produced by Cheri Smith Photography (11.23 minutes)
Deborah Remington (1930 – 2010) began her career as an abstract expressionist painter in the late 1940s and early 50s while studying at the California School of Fine Art. Her professors included Elmer Bischoff, Hassel Smith, David Park, Jack Spicer and Jean Varda. Remington quickly became part of the vibrant Beat scene just beginning to emerge in San Francisco. Her early abstract work was characterized by richly painted surfaces with bold color accents. A two-year residency in Japan from 1956-1958 studying calligraphy led to a shift from gestural abstraction to a more disciplined, controlled geometric abstraction with hints of figuration. A move to New York in 1965 heralded a period of her most iconic works rendered in an electric palette of intense reds, greens and deep blues. These new compositions of the 1970s and early 80s were carefully structured. The imagery was machine-like, accented with steely, mirror-like imagery rendered in icy shades of gray. By the late 80s she returned briefly to gesture, ending her final years with abstract works that combined gesture with her signature carefully controlled compositions and brightly colored palette of intense red, orange, green and blue.
Video collage of the artist’s career, including interviews, reviews and lifetime milestones, 2010