Hedda Sterne died late last week. The New York Times offers her obituary here but The New York Review of Books has this long essay by Sarah Boxer explaining her life, art and why she did not have the same career as the others in this famous photograph:

Not only was she not an Abstract Expressionist; she was the anti–Abstract Expressionist, someone who had no use for the cult of personality and personal gesture. As Sarah Eckhardt, curator of “Uninterrupted Flux,” Sterne’s 2006 retrospective, noted, Sterne saw her art as a diary, her eye as a camera finding the extraordinary in the ordinary. Her subjects were mundane. Her palette was spare and muted (tan, ochre, black, white, and blue), her brush more often dry than loaded, her line searching. And at a time when just about every painter who mattered was a heroic abstract artist, or trying to be, she was not. […] Sterne was not alone in her absorbed, transforming take on the world around her, which she learned from the Surrealists. What really distinguishes her is her refusal to develop what she tartly termed a “logo” style. And that refusal, Sterne said once, “very much destroyed my ‘career.’” Although Peggy Guggenheim and Betty Parsons championed her, although major museums acquired her work, although Clement Greenberg praised her “nice flatness” and “delicacy” and Hilton Kramer mentioned her “first-class graphic gift,” and although she has had one of the longest exhibition histories of any living artist (seventy years), she is hardly well known. That doesn’t bother her.

The Last Irascible (New York Review of Books)

Hedda Sterne, Artist of Many Styles, Dies at 100 (New York Times)