In the mid 1950s Kushner admired the monumental paintings of Richards Ruben that she encountered at the Los Angeles County Museum of Art. They were large and authoritative, painted with bravado, strongly influenced by Clyfford Still and the other Bay Area Abstract Expressionists. She was also inspired by the virtuoso brushwork of Franz Kline—particularly his late, color work. She also became drawn to the work of Pierre Bonnard and would often take a reproduction of a Bonnard painting, isolate a small corner of it as the beginning of a new painting both for his rich color harmonies and the cropped composition.

Hans Hofmann’s theories of paint handling, composition and color were dominant in Dorothy’s mind during the 1950s and 1960s. “I wanted something different from the stuff I was doing, and so I took the class and [Ruben] was teaching … we met at the park, and that’s where I met all the Arcadia people that I knew that were in art [i.e. The Group].  I think he was quite influential in my life, changed my whole style from realistic [to abstraction].” -Kushner

After studying with Richards Ruben Dorothy’s work changed dramatically. Her landscapes became more abstract, focusing on close up views of rock formations that she derived from newspaper and magazine photos. Her palette cooled to browns, greens, black and gray with vibrant colors applied conservatively for a staccato effect. Her “Rocks” series was also influenced by the impasto application, painterly brushwork, vaguely quadrilateral forms, and compositionally clustered shapes of Nicolas de Staël, whom she admired. Her brushwork and compositions in “Rocks” were decisive and uncompromising.