Marcia Woods was born in 1929 in Pomona, California. After graduating from Pomona College in 1951 and marrying Herbert Hafif, she planned a year-long trip to Florence in 1961. Hafif settled, however, in Rome, where she remained for almost eight years, painting and exhibiting work she has called “Pop-Minimal.” These works were shown for the first time in the United States in, Marcia Hafif: The Italian Paintings 1961–1969 at Fergus McCaffrey, New York, 2016. Returning to California in 1969, and leaving painting for a time to experiment with film, photography and sound installation, she completed an MFA degree at the University of California at Irvine.
In 1971, Hafif moved to New York City to search out a return to painting at a time when the validity of painting was in doubt and not finding a satisfactory path, she woke on the morning of January 1, 1972, to make her first Pencil on Paper drawing. Using short vertical marks, Hafif covered from top to bottom a 24 x 18 inch sheet of drawing paper. This method was later used in the development of her “color study” paintings. In An Extended Gray Scale, 1972-73, a work that occupied her for nearly a year, she painted gradations from black to white. Painting as many gradations she could distinguish, she completed a total of one hundred and six 22 x 22 inch oil paintings on standard cotton canvases.
Exhibiting for more than eight years with Sonnabend Gallery in Soho and Paris from 1974 to 1981, she developed series of paintings that would become the basis of what came to be called The Inventory: 1974, Mass Tone Paintings; 1975, Wall Paintings; 1976, Pencil Drawings; 1978, Neutral Mix Paintings; 1979, Broken Color Paintings presented at The Clocktower with Alanna Heiss; and 1981, Black Paintings. Hafif continues to add to The Inventory. Most recently, works include the Splash Paintings, 2009-10, and the Shade Paintings, 2013.
In the 1980s and 1990s she developed new series, along with relationships with galleries in Europe, first in Munich, then Dusseldorf, and eventually Vienna, London, Paris, and elsewhere. Hafif’s work has been exhibited extensively in museums, notably at MoMA PS 1 in 1990; Haus für Konstruktive und Konkrete Kunst, Zurich, 1995; FRAC Bourgogne, Dijon, 2000; and MAMCO, Geneva, 2001. In the United States, Hafif’s work was most recently seen in Marcia Hafif: From The Inventory at Laguna Art Museum, 2015, and forthcoming retrospectives will be presented at the Kunstmuseum St. Gallen and Kunsthaus Baselland in 2017. Hafif divides her time between Laguna Beach, California, and New York City.
Artsy Editorial by Anna Louie SussmanSeeing the retrospective in Paris convinced McCaffrey, the longtime collector and gallerist, that he needed to bring her (Carol Rama) work to the U.S. market. He mounted a show of nearly 50 works from between 1938 and 1945 in September 2016. “Unless you have recognition in the U.S., you don’t really have a market,” he says. “We showed Ramas this time last year in Basel and Americans had no awareness.” This year, his booth at Art Basel in Basel placed Rama alongside the Gutai artist Kazuo Shiraga, as both artists’ work addressed life under totalitarianism by seeking to liberate the body and its functions. Read More
The Art Newspaper by Matthew WilcoxCrucial in Gutai’s sudden boom, in McCaffrey’s view, was the fact that the group had essentially been ignored in the US since the 1950s. “Look at the market for Italian post-war work, or back to the late 1980s, when the German Neo-Expressionists started to make an impact in the US. There are these discrepancies in information and knowledge that pop up.” Read More