This biography from the Archives of AskART:
|  Renee Radell, over a 50-year career, has proven to be an unusual Post-War and Contemporary American painter -- a pioneer among women social commentary artists. Sometimes satirical, sometimes humorous, often tragic, yet always intellectually piercing, these powerful works demonstrate remarkable vitality and are increasingly germane to today’s society.
Born in Birmingham, Alabama during the Great Depression, Renee Kaupiz moved early in life to Detroit, Michigan. She met and married sculptor Lloyd Radell at The Detroit Society of Arts and Crafts, now The Center for Creative Studies. During this time numerous regional awards and concurrent press coverage for her watercolors ensued, together with gallery exhibitions and museum purchase awards -- i.e. The Detroit Institute of Art, The Walter P. Chrysler Museum and the Dearborn Museum.
In the mid-1960s, Radell emerged in the mainstream gallery scene of New York City. Five one-person shows followed, causing critical acclaim among seasoned art critics. Her honed skill with the figure conveyed an acute social consciousness and compassion, powerfully incorporating themes of love, death, conflict and regeneration on her chosen stage. Arts Magazine commented in 1967, she “expresses a humanism and pathos that is more universal and more moving than the older forms of social commentary.”
In the early 1980s, Radell moved to New York City, where she currently resides. Compared with earlier works, the oeuvre has become more subjective and allegorical through the use of myth and symbolism. Her armed vision continues to address societal enigmas, most notablyin the Morality Plays series first introduced for public view in 1990. Her versatility and abundant portfolio includes portraits, still-life and an extensive landscape assemblage from travels domestically and in Europe.
Bibliography:
Allen, William D., review, Arts Magazine, March 1969, March 1970
Burstein, Patricia, review, New York Sunday News, October 1967
Clermont, R., review, La Revue Moderne, January 1961
Diamond, Steven, pictorial, Menninger Perspective, November 2006
Gold, Dr. Philip, “American Art Since 1990”, lecture series, Singapore, Thailand, 1994
Gruenke, Allen, “Synergy’s Symbols Give Viewers Pause”, Mercy College News, October 1988
Hakanson, Joy, review, Detroit News, January 1952
Hakanson, Joy, review, Detroit News, January 1959
Kirk, Dr. Russell, “Doing Their Thing”, national newspaper syndication, May 1968
Kirk, Dr. Russell, “Decadence and Renewal in the Higher Learning” , Gateway Edition, 1978
Kirk Dr Russell “Kirk, Dr. Russell, Renee Radell” Detroit News Magazine, February 1984. Reprinted in University Bookman’s Spring 2007 edition.
Landon, H.G., review, Park East, October 1967
Landon, H.G., review, Park East, March 1969
Louden, Kenneth, “Symbolism in Art”, The Hillsdale Daily News, February 1976
McCormick, J.M., review, New York Pictures on Exhibit, May 1965
McLean, Evelyn Grey, “Radell Studios.”, The University of Winsor Review, November 1976
Nemser, Cindy, review, Arts Magazine, November 1967
Richardson, Dr. Edgar P., Director Detroit Institute of Art, catalog forward , January 1959
Saint-Evremond, J., review, Le Courier des Arts, October 1967
Saint-Evremond, J., review, Le Courier des Arts, October 1970
Saltmarche, Kenneth, review, Winsor Star, April 1968
Tall, William, review, Detroit Free Press, October 1968
Tramier, Fernand, review, La Revue Moderne, May 1966
Wiliams, Mara A., Director Curator, Brattleboro Museum, catalog forward, May1995
Zucker, Marlene, review, Art News, November 1967
Information provided by Kevin Radell, son of the artist.
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