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Crowd of Women (The Collective Id)

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Crowd of Women (The Collective Id) is an exhibition conceived by artist, Frank Schroder. This collection has been featured in Bregenz Kunstverein in Austria 1996, The American Fine Arts in New York 1998, The Drawing Center in New York 1999, and the Zilkha Gallery at Wesleyan College in 2002.[1]


This exhibition consists of found portraits of women collected by Frank Schroder. These paintings were collected from the years 1986-1996 and originate from western Europe and the United States from about the turn of the century to the 1950s.[2]

Past exhibitions[edit]

Magazine 4 Bregenzer Kunstverein, Austria- 1996[3]

American Fine Arts Gallery, New York, USA- 1998 [3]

Drawing Center, New York, USA- 1999 [3]

American Fine Arts Gallery, New York, USA- 2001[3]

Zilkha Gallery, Wesleyan University, Connecticut, USA- 2002 [3]


Roberta Smith of the New York Times[edit]

"This terrifically elastic show is itself a band, a continuous line of nearly 80 painted portraits that wends it's way across walls and around corners.... Nearly any idea is worth pursuing from one end to the other - formal issues of surface or pallette; the popularization of style toward camp or kitsch, changing concepts of femininity, and glamour; differences in age, race and class; degrees of realness and abstractness; clichés of female pain or pride; the nature of Mr. Schroder's criteria and lowbrow connoisseurship in general; range of expression or lack thereof. The precedent for this installation which is a kind of artwork, are Allan McCollum's series of wood or plaster "surrogate" paintings and Douglas Blau's excyclopedia displays of film stills ordered according to subject. But in Mr. Schroder's hands...color, surface and a highly focused subject, all of which makes it more physically and emotionally present."[4]

Linda Yablonsky of New York Magazine 1998[edit]

Schroder orchestrates an informal discourse on the way women's roles can be defined through image and attitude alone. If this sounds like an overworked idea, it gets a fresh and rather affectionate treatment here....They're sweet, stern, insouciant, tough, exotic, drab and glamorous; they're matrons, coquettes, dowagers, and dancers, gadflies and good-time girls - housewives, mothers, sisters, pals....Some are more awkward than others, but most have an integrity and credibility that keep them from falling headlong into kitsch. Alone, they would; together they present a history of women that telegraphs modern social and aesthetic values with no small degree of clarity, pride or wit."[5]

Jeff Rian of Flash Magazine 1997[edit]

"For the last ten years Frank Schroder has been collecting portraits of women...which he finds in thrift shops, flea markets, and cheap auctions houses....Together they comprise a diversity of styles and perspectives...He calls them a "collective," giving the work a social tag. And now, with the strength of their number, these pictures speak that way, like mediums across time, through our kaleidoscopic perspective of history. They speak forcibly, in fact, about something that artists like John Currin and Elizabeth Peyton are musing over in history's distortion glass. Schroder went to the source...buying on the cheap and coming away with painting that would make you proud to be their author's kin. For they are kin of sorts, not only of a pastime, but also of continuity and of past history remembered. Moreover, they embody the kind of 'art' that an anthropologist might treasure in an Inuit's bone carving or in an old French fork. This is the kind of thing that disappears, like old clothes and recipes; it, too, may be the kind of art that one day in the future could be considered artifacts with resonant esthetic echoes, not only of a passionate interest in moving paint, but of 'special someones' frozen in time, versions of ourselves as we once might have been and, in the continuity of things, somehow still are." [5]

Colin de Land[edit]

“An on going collection of 150 plus portraits of women from 1909-1959... Collected over the last 7-10 years, the former painter has transferred the struggle of painting, to authoring this history of rejected struggles, and rejected subjects. Pruned from the unsensationalized ground of middle culture, the portraits were chosen for their unglamourized factographic qualities, as well as painterly competence.”[6]


  1. Collection, Frank Schroder The. "Installation Shots | Frank Schroder The Collection". Frank Schroder The Collection. Retrieved 2018-02-17.
  2. Collection, Frank Schroder The. "About The Collection | Frank Schroder The Collection". Frank Schroder The Collection. Retrieved 2018-02-17.
  3. 3.0 3.1 3.2 3.3 3.4 "Frank Schroder Biography – Frank Schroder on artnet". Retrieved 2018-04-22.
  4. Smith, Roberta (1998-04-03). "Art in Review". The New York Times. ISSN 0362-4331. Retrieved 2018-04-22.
  5. 5.0 5.1 Collection, Frank Schroder The. "Reviews | Frank Schroder The Collection". Frank Schroder The Collection. Retrieved 2018-02-17.
  6. "zingmagazine 19". Retrieved 2018-04-22.

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