THE ONWARD OF ART AMERICAN ABSTRACT ARTISTS 80TH ANNIVERSARY EXHIBITION

Essay by Karen Wilkin Published by American Abstract Artists

1

acknowledgments

“The Onward of Art,” commemorating the 80th Anniversary of American Abstract Artists, has been a team effort to which many people have contributed importantly. The exhibition would not have been possible without the dedicated efforts of Emily Berger, Lynne Harlow, Daniel G. Hill, Creighton Michael, Jim Osman, Claire Seidl, Colin Thomson, Kim Uchiyama and Vera Vasek, all of whom I am grateful to for many different reasons. Heartfelt thanks are due to all the lenders to the exhibition This catalogue is published by American Abstract Artists in — both the current members and those who arranged for the historical works and documentary conjunction with the exhibition The Onward of Art: American material that contextualize the show; these include Jason Andrew, Christine Berry, Laurie Fendrich Abstract Artists 80th Anniversary Exhibition, curated by Karen and Peter Plagens, Edith Ferber, James Gross, Madalena Holtzman, Cecily Kahn, Ce Roser, Hanne Wilkin and organized by American Abstract Artists at 1285 Tierney, Don Voisine, and Joan Washburn, among others. I am indebted to them all. I would like to Avenue of the Americas Art Gallery, , New York. thank Linda Florio for everything she has done, with grace and efficiency. And finally, I would like January 18, 2016 – March 25, 2016 to thank AAA for asking me to participate in this wonderful project. Guest curator: Karen Wilkin Karen Wilkin, curator Gallery director: Colin Thomson Design: Linda Florio, Florio Design Editors: Emily Berger, Daniel G. Hill, Claire Seidl

American Abstract Artists (AAA) is a democratic artist-run organization founded in 1936 in to promote and foster understanding of abstract and non-objective art. AAA organizes exhibitions and produces member print portfolios and catalogues. It provides a forum to discuss and expand ideas about by hosting critical panels and symposia and publishing the American Abstract Artists Journal. AAA distributes its published materials internation- ally to cultural organizations and documents its member american abstract artists executive committee history in the Smithsonian . Daniel G. Hill, President Copyright © 2016 American Abstract Artists Emily Berger, Vice President and Exhibitions Committee Chair Jim Osman, Secretary All artworks are copyright to the individual artists or their Don Voisine, Assistant Secretary estates, except where noted otherwise. James Juszczyk, Treasurer Gail Gregg, Assistant Treasurer 20 19 18 17 16 5 4 3 2 1 Anne Russinof, Communications Committee Chair First Edition Nancy Manter, Membership and Nominating Committee Chair

ISBN: 978-0-9972072-0-0 american abstract artists membership LCCN: 2016930496 Alice Adams James Gross Creighton Michael James Seawright All rights reserved. No part of this publication may be Steven Alexander Lynne Harlow Manfred Mohr Claire Seidl Richard Anuskiewicz Mara Held Hiroshi Murata Edward Shalala reproduced, stored in a retrieval system, or transmitted, in Eve Aschheim Daniel G. Hill Judith Murray Susan Smith any form or by any means, electronic, mechanical, photocopy- Martin Ball Gilbert Hsiao Mary Obering Richard Stone ing, recording or otherwise, without the prior permission in Siri Berg Phillis Ideal John Obuck Robert Storr writing from the publisher. Every reasonable attempt has Emily Berger Julian Jackson Jim Osman Robert Swain been made to identify owners of copyright. Errors or omis- Susan Bonfils Roger Jorgensen John Pai Richard Timperio sions will be corrected in subsequent editions. Power Boothe James Juszczyk John T. Phillips Li Trincere Naomi Boretz Cecily Kahn Corey Postiglione Kim Uchiyama The Onward of Art: Eight Decades of American Abstract Artists Sharon Brant Marthe Keller Lucio Pozzi Lynn Umlauf © 2015 Karen Wilkin and American Abstract Artists Henry Brown Iona Kleinhaut Richard Pugliese Clover Vail Marvin Brown Victor Kord Raquel Rabinovich Vera Vasek Kenneth Bushnell Ted Kurahara David Reed Don Voisine The Onward of Art: American Abstract Artists 80th Anniversary James O. Clark Irene Lawrence Rodney Ripps Merrill Wagner Exhibition is sponsored by the 1285 Avenue of the Americas Mark Dagley Jane Logemann Dorothea Rockburne Stephen Westfall Art Gallery, in partnership with Jones Lang LaSalle, as a Matthew Deleget Vincent Longo Ce Roser Jeanne Wilkinson community-based public service. Tom Doyle David Mackenzie Irene Rousseau Mark Williams Gabriele Evertz Oscar Magnan David Row Thornton Willis American Abstract Artists Heidi Gluck Stephen Maine Anne Russinof Kes Zapkus 219 East 2nd Street, #2D Gary Golkin Katinka Mann Cordy Ryman Nola Zirin New York, N.Y. 10009 John Goodyear Nancy Manter Lorenza Sannai americanabstractartists.org Gail Gregg Joanne Mattera Mary Schiliro

2 3 The Onward of Art: Eight Decades of American Abstract Artists

eighty years ago, in 1936, American Abstract Artists was officially founded in New York by a diverse group of progressive, forward-looking painters and sculptors. The founding members included Josef Albers, , — AAA’s first chairman — , Carl Holty, Harry Holtzman, Ibram Lassaw, Alice Trumbull Mason, Mercedes Matter, George L.K. Morris, Esphyr Slobodkina, and Vaclav Vytlacil, among other distinguished artists. (It’s noteworthy that the founders and early members included an impressive number of women, a striking statistic that has been true of AAA throughout its long history and still obtains.) The backgrounds of the early members were notably disparate. Some, like Albers, Bolotowsky, Lassaw, and Slobodkina, were immigrants, Albers from Germany, the latter three with Russian origins. Mason, by contrast, was a descendant of a long-established American family that included John Trumbull, the 18th century history and portrait painter. Gertrude Greene and Morris were native New Yorkers. Some, like Mason, Morris, and Matter — the daughter of the pioneer modernist Arthur B. Carles — had studied in Europe. Holtzman had traveled to Paris and befriended Piet Mon- drian. But other early members had been trained only in the U.S. What united them was their unwavering belief in the importance of “non-objective” art — that is, art that didn’t aspire to reproduce the visible in any conventional way — and their insistence upon the autonomy of the painting or sculpture, not as a reference to something pre-existing, but as an independent, self-sufficient, expressive object.

The organization’s first exhibition, which included the work of twenty-nine members, was held in April 1937, at the Squibb Gallery, on Fifth Avenue. A Esphyr Slobodkina prospectus issued at the time announced that the fledgling organization’s The Red L Abstraction purpose was “to unite American ‘abstract’ artists, (1) to bring before the public their individual c. 1940’s, , 6 3⁄4" × 8 3⁄4" works, (2) to foster public appreciation of this direction in painting and sculpture.” The emphasis ▲ on “American” and “abstract” was crucial. The informal meetings of abstractionist painters and Charmion von Wiegand To the Goddess, 1966 sculptors that had led to the AAA’s formation were, in part, prompted by the Museum of Modern 13 3⁄4" × 19 3⁄4" Art’s emphasis on Europe when advanced art was exhibited — not a surprising bias, since Paris remained the epicenter of the most adventurous work being made in the first part of the 20th century, yet understandably rankling to ambitious, gifted Americans who wished their efforts to be taken seriously on home ground. What’s fascinating, however, is a statement in a section titled Character of the Group: “. . . we place a liberal interpretation upon the word ‘abstract,’ a word which we moreover recognize as neither adequate nor accurate.”

Equally important — perhaps even more so — was the second item in the manifesto, “to foster public appreciation” of abstraction. In 1936, public appreciation of “non-objective” art needed a lot of fostering. Since 1920, almost a decade before the ’s opening in 1929, the museum’s ancestor, the Société Anonyme, had been organizing exhibitions of avant garde art,

5 most of it from Europe; in 1927, the American connoisseur, painter, and collector A.E. Gallatin had established his Gallery of Living Art in borrowed space at New York University, to showcase his growing holdings of French and American , with a heavy emphasis on . But both the Société Anonyme and the Gallery of Living Art were excep- tional institutions with small followings. In 1936, the year of AAA’s birth, abstraction, as part of the language of modernist art, had a history of less than a quarter century and was still regarded with suspicion and hostility not only by the general public but also by many serious art lovers. The traditional notion that worthwhile art was defined as the faithful imi- tation of recognizable appearances and spatial relationships was still entrenched (as it apparently remains entrenched, in many circles) so the original AAA membership’s firm belief in the power of non-representational images to commu- nicate profound ideas and emotions placed them in a true vanguard. Ibram Lassaw stated some of the members’ most deeply held convictions in an essay written for an AAA pub- Alice Trumbull Mason lication in 1938. He began by noting that photography and #1 Towards a Paradox, 1969 cinema were better at dealing with description and narrative than painting or sculpture. “Stripped of 19” × 24” Art © Estate of Alice Trumbull Mason/ these superimposed tasks,” Lassaw wrote, “the underlying structure of art becomes clear. Colors and Licensed by VAGA, New York, N.Y. forms alone have a greater power to move man emotionally and psychologically.” Courtesy of Washburn Gallery, New York The importance and significance of abstraction remained a vexed issue, even in relation to insti- tutions that we might assume would have supported this direction. In 1940, four years after the founding of AAA, members picketed the Museum of Modern Art to protest the exhibition program’s concentration on realism. The museum was giving “an awful lot of space to [Thomas Hart] Benton and [Grant] Wood.” Ilya Bolotowsky recalled, in an interview conducted in 1976. But the organization’s relationship with MoMA had been problematic from the start, despite the fact that, as AAA’s chair- man, Carl Holty, wrote in a letter to the director, Alfred H. Barr, the group “looks upon the Museum of Modern Art as the authentic place where contemporary thought and effort in art, is clearly iden- tified.” Holty was writing to request that the museum host AAA’s annual exhibition in 1938, citing the uniqueness of the group and its commitment to abstraction. Barr declined, claiming scheduling conflicts and adding that, even if there were no scheduling conflicts, no artists’ group could exhibit at MoMA unless the museum staff was given the right to select what would go on view from the submissions. However true Barr’s claim of previous commitments might have been and however rea- sonable the provision for selection might seem from the curatorial point of view, the refusal created Harry Holtzman Vertical Volume with long-lasting enmity towards MoMA on the part of AAA’s rejected members. AAA’s exhibitions have Yellow and Blue, 1944 Study for a Compositions, 1938–39 long been held in changing locations ranging from commercial galleries with supportive directors 17" × 7 3⁄4" 9 1⁄4" × 8 1⁄4" to the now-vanished Riverside Museum, what would now be termed an “alternative space,” on the Upper West Side, to Lever House, the Loeb Student Center at New York University, and the former ▲ IBM Gallery, among many other locations. Harry Holtzman Untitled, 1983 87" x 25 1⁄2" x 11 3⁄4 " On the plus side, the AAA membership’s unwavering support of the cause of abstraction made the organization a sympathetic home for similarly high-minded artists. Piet Mondrian was asked to be- come a member of AAA soon after he came to New York, in 1940, and quickly accepted; his friendship with the founding member Harry Holtzman, who issued the invitation, must have influenced this decision, but the fact that Mondrian joined AAA when he had earlier resigned from De Stijl because Theo van Doesburg introduced diagonal elements into his work gives us an indication of the rigor of thinking at the American organization. The American writer and critic Charmion von Wiegand began making abstract art — and joined the organization — after meeting and interviewing Mondrian in

6 7 Balcomb Greene Untitled (35-8), 1935 7 3⁄4" × 6" ▲

Gertrude Greene Project for a Sculpture (34-4), 1934 10 1⁄4" × 6"

Jack Tworkov Q1-75-S #2, 1975 25" × 25" © Estate of Jack Tworkov/Licensed by VAGA, New York, N.Y.; Courtesy of Alexander Gray Associates, New York

8 9 1941. Fernand Léger was briefly associated with AAA, during his New York sojourn. The precocious Ad Reinhardt, who prided himself on having never worked figuratively, joined as a very young man. According to some lists, the exacting critic was a member, and later, such very different artists as the sculptors and Herbert Ferber, the painters Jack Tworkov, Norman Lewis, Nell Blaine, and Al Loving, and the unclassifiable Dorothea Rockburne and Richard Tuttle — to name only a small sampling of the AAA’s constituency, over the years — either joined as members or participated in the annual exhibitions. (That, as this list suggests, a fair number of AAA’s once adamant supporters of abstraction have, over the years, allowed varying degrees of reference into their work is subject for another discussion.)

Many of AAA’s early members espoused geometric abstraction as a metaphor for order, logic, and truth. Some were convinced of the universality and, often, the spiritual connotations of clearly presented, pure Euclidean absolutes, while others treated shapes more freely, but remained faith- ful to crisp outlines and uninflected planes. The cool detachment of works of this kind justifies the frequent use of the dispassionate terms “non-objective” and “Neo-plastic” by the members of AAA to characterize their art, descriptions that avoid even the faint connection with something preexisting contained within the word “abstraction,” which implies, albeit obliquely, that what we see has been abstracted from something.

But there were also alternatives to geometry. , with its probing of inner visions as a source of creativity, was also part of current discussion among the New York art world of the time. The artists associated with AAA rejected the meticulously naturalistic, illustration-like approach of Salvador Dali, but many of them — like other young New York artists of the period — were fas- cinated by Joan Miró’s ambiguous “abstract Surrealist” imagery and Francis Picabia’s machine-like fantasies. Also part of the conversation were the provocative cross-connections suggested by “The Golden Bough,” Sir James G. Frazer’s influential study of comparative religion, published in an abridged version in 1922. Frazer’s demonstration of how myths persist through time and across cultures reinforced notions of the seamless connections between modern day abstraction, archaic art, and what used to be called “primitive” art. Added to this was the idea of a collective unconscious, promulgated by some of Sigmund Freud’s disciples. Assuming the existence of a shared, unwilled human awareness of mythological patterns gave further justification for art that revealed the imagined and unseen, rather than reproducing the familiar, and encouraged the use of biomorphic forms as equivalents for abstract dream imagery. Inspired by these ideas, some artists associated with AAA adopted, at least at times, suggestive organic forms as non-literal subject matter that could be presumed to be charged with universal meaning. A letter from Alice Trumbull Mason to Ibram Lassaw, when he was serving in the armed forces during World War II, recounts “discussing biamorphic [sic] forms” with Charmion von Wiegand or perhaps, Mason corrects herself, with Balcomb and Gertrude Greene. Mason is puzzled. The dictionary yields nothing “except the word amorphous, which means without form. . . Does the bi have the sense of double? The Greek root bio means life, but there a new confusion enters. Is the word spelled biomorphic? In which case it would mean life forms. Charmion did say she felt biomorphic meant the true body rhythms, as distinct from obviously sexual forms.” Given their clearly imperfect grasp of the ideas contained within the word, it’s not surprising that both von Wiegand and Mason were mainly what we would now call “hard-edge” painters, even when curved and sinuous Herbert Ferber Labors of Hercules, 1948 shapes entered their visual vocabularies. By contrast, Herbert Ferber’s sculptures of the 1940s 32 3⁄4" × 19 1⁄4" × 8" bear witness to his enthusiasm for loaded biomorphic forms and his ability to deploy them for emotional effect.

AAA’s present day vitality, eight decades after its founding, is proof of the enduring relevance of ▲ the organization. The large number of dedicated artists, many of them well known, who make Various historic books and up today’s membership, bear witness to the relevance, too, of a belief in what the British sculptor documents, American Abstract Artists archive Anthony Caro called “the onward of art” — a sense of the seamlessness of the present, past, and

10 11 future of painting, sculpture, and whatever other forms art may take. “The onward of art” is not bound up with the idea of progress or novelty, but rather with continuity and building on what has already been learned. Yet, in today’s pluralistic, global art world, it is difficult to imagine the kind of polarization and the sense of clear cut issues that could provoke a group of otherwise highly individual artists to come together, eighty years ago, not only in order to support their shared aesthetic convictions but also to signal their opposition to other positions. The critic Irving Sandler, born in 1925, in a recent comparison of the present New York art world with what he knew of it, in the early 1950s, stressed the difference between the fierce debates about what art could or could not be, sixty years ago, and the present day’s eager acceptance of just about any conception, any material palette, and any attitude towards description or story telling, abstraction or figuration. A common “whatever” prevails. The absence of a passionate sense of the importance of taking a position, Sandler implied, was in some ways, a loss of vitality. On a more positive note, the present day equivalents of the founding members of AAA no longer have to do battle to call attention to American artists.

The current members of AAA, with their shared commitment to the virtues of abstraction and The Art Critics their shared rejection of traditional figuration, are, because of their common aesthetic values, an American Abstract Artists, 1940 unusually coherent group, in contrast to the great majority of their “anything goes” colleagues — which is obviously why they are part of the organization, in the first place. But the present exhibition, celebrating the endurance and continued significance of AAA, also bears witness to the extraordinary diversity of today’s membership. Abstraction, it is clear, may be as broadly defined, uses as wide-ranging a material palette, and is as likely to spring from a conceptual basis or to refuse a conceptual basis as any other present day category. We would be hard put to identify even a few broad typologies, even those as general as the geometric, hard-edge way of working embraced by so many early members, the inclusion of curvilinear shapes, or the investigations of biomorphism. The work of the current members of AAA included in “The Onward of Art” is not nostalgic, formally or conceptually, for a vanished past. It is wholly of the moment. Yet it also affirms the currency of assumptions that would have been familiar to the founding members: assumptions about the autonomy of the work of art, about its independence from explicit narrative or explicit description, about the potency of the raw materials of color, shape, form, and texture to engage us, as Ibram Lassaw said, long ago “emotionally and psychologically.”

In today’s art world, when verbally expressed ideas are often valued more highly than the forms that embody them and traditional facility in representation is often admired above any other considerations, the kind of wordless, imageless eloquence that the first members of AAA em- braced has once again come into question, albeit for different reasons than it did eighty years ago. Abstraction is often assumed to be empty unless it is fully bolstered with irony or a complex conceptual justification. Yet the work of many significant artists, including today’s members of AAA, continues to reaffirm the health, eloquence, and versatility of present day abstraction. To commemorate the organization’s 80th anniversary in 2016, we honor its distinguished past, but we also celebrate its robust present. The lasting contribution made by the founding members to the onward of American modernism is attested to by the existence of the works in this exhibition (as well as by a great deal that happened in between). “The Onward of Art” is intended not only as a showcase of the vigor and relevance of American Abstract Artists in the twenty first century, but also of the undiminished vigor and relevance of art that communicates directly through the eye, reaching our intellect and our emotions without words.

Karen Wilkin New York, November–December 2015

marvin brown Untitled, 2011 11" × 9"

12 13 heidi glück steven alexander Study for 9 x 45 inch Panel, 2011 Arcade, 2011–2015 9" × 12" 30" × 26"

14 15 sharon brant susan bonfils #77-2015, (from An Uncertain Geometry series), 2015 Collective Diversity #2, 2015 36" × 48" 16" × 14"

16 17 john obuck mark williams Dome, 2015 Done, 2015 20" diameter 42" × 36"

18 19 mark dagley don voisine Final Sequence, 2014 Jig, 2015 27" × 27" 18" × 30"

20 21 manfred mohr david mackenzie P2200_1577, 2014 #29-2014-JT10, 2014 31 1⁄2" × 31 1⁄2" 30" × 30"

22 23 lorenza sannai david row Il sogno di Artemide, 2015 Cartography, 2014 24" × 18" 38" × 42"

24 25 kim uchiyama gabriele evertz Light Study #39, 2014 Grays and Metallics, 2014 48" × 40" 36" × 36"

26 27 nola zirin gilbert hsiao Lavender Blue, 2015 GTO, 2015 40" × 30" 42" × 48"

28 29 mary schiliro creighton michael Random Dip 8, 2015 SCRIPT 214, 2014 36" × 12" 36" × 34" × 2 1⁄2"

30 31 henry brown joanne mattera Focal Point, 2015 Chromatic Geometry 23, 2015 8" × 8" 12" × 12"

32 33 cordy ryman daniel g. hill Nine, 2014 Wheatstone Bridge 5a, 2015 36" × 36 3⁄4" × 1 3⁄4" 10" × 10"

34 35 power boothe ce roser Ellipsis #4, 2015 Island Interval, 2015 15 1⁄2" × 15" 40" x 40"

36 37 victor kord jane logemann Playboy, 2013 Green-6 lines, 2010 48" × 48" 26" × 18"

38 39 susan smith siri berg Three Triangles, 2014 Black Sheep, 2015 21 1⁄4" x 21 1⁄4" 60" x 10"

40 41 lynne harlow julian jackson Accumulation, 2015 Iris 2, 2015 72" × 40" × 2" 48" × 48

42 43 li trincere katinka mann Untitled, 2015 Every Now, 2013 18" × 18" 37" × 29" × 2"

44 45 james juszczyk jeanne wilkinson Tradition, 2015 City Symmetry 7, 2015 20" x 20" 24" × 16"

46 47 richard timperio stephen westfall Big Oh, 2015 Otherwise, 2013 54" × 46 1⁄2" 48" × 48"

48 49 thornton willis irene rousseau The Congregation, 2012 Stretching the Space-9, 2015 70" × 52" 36" × 36"

50 51 james gross jim osman Canyon, 2011 Court, 2015 23" × 15" 51" × 30" × 20 1⁄2"

52 53 edward shalala nancy manter Unititled, 2015 Be Still #13, 2015 11" × 14" 18" × 18"

54 55 alice adams roger jorgensen Layer Collage 3, 2010 The Cosmos, 2012 12" × 18" 50" × 62"

56 57 lucio pozzi stephen maine A Fact, 2015 P15-0711, 2015 30" × 24" 54" × 46"

58 59 naomi boretz martin ball Prismatic Landscape #863, n.d. Untitled V&A, 2013 16" × 20" 54" × 36"

60 61 gail gregg mara held Gilded Gyre Fragment #44, 2015 Four Clouds, 2014 11" × 10 1⁄4" × 2 3⁄4" 48" × 32"

62 63 cecily kahn judith murray Untitled, 2014 Expedition, 2014 35" × 30" 40" × 44"

64 65 vera vasek phillis ideal We Shared Moments, 2015 Nightfall, 2015 24" × 24" 30" x 30"

66 67 dorothea rockburne claire seidl Copper, Paper Pulp, and Dieu Donné #4, 2003 It Goes without Saying, 2015 31 1⁄2" × 23" 51" × 45"

68 69 emily berger marthe keller Untitled, 2015 By Way of Sagittarius, 2013 30" × 24" 48 3⁄4" × 48"

70 71 iona kleinhaut irene a. lawrence Yellow Breath, 2015 Landscape/Stage Set II, 2015 30" × 32" 23" × 28"

72 73 anne russinof corey postiglione Tall Vault, 2015 Lines of Flight # 8, 2014 60" × 36" 30" × 30"

74 75 raquel rabinovich kes zapkus River Library 342, 2009 Proxies for Covert Action, 2012 19 1⁄2" × 26 1⁄2" 72" × 36"

76 77 works in the exhibition

Alice Adams Courtesy of Fred Giampietro Gabriele Evertz Daniel G. Hill Iona Kleinhaut Nancy Manter John Obuck Irene Rousseau Edward Shalala Don Voisine Layer Collage 2, 2010 Gallery, New Haven, Grays and Metallics, 2014 Wheatstone Bridge 2b, 2015 Yellow Breath, 2015 Be Still #13, 2015 Window, 2015 Stretching the Space-9, 2015 Untitled, 2015 Jig, 2015 Cotton cloth with latex Connecticut Acrylic on canvas over Cotton/polyester thread Oil on canvas Flashe, charcoal on Oil on canvas Oil on canvas, pen and ink #10 weight, raw canvas Oil on wood panel on vellum (p. 36) birch wood and polyester film 30" × 32" wood panel 16" × 20" 36" × 36" thread flown with a 18" × 30" 12" × 18" 36" × 36" 10" × 10" (p. 72) 18" × 18" (p. 51) kite with 10–15 mph (p. 21) Power Boothe Courtesy of Minus Space, (p. 55) Jim Osman winds forming a random Alice Adams Ellipsis #20, 2015 New York Gilbert Hsiao Victor Kord Court, 2015 David Row permutation; North Don Voisine Layer Collage 3, 2010 Gouache on arches (p. 27) GTO, 2015 Playboy, 2013 Joanne Mattera Wood, paint, log section Cartography, 2014 Meadow, Central Park, Dimday, 2015 Cotton cloth with latex cold press paper Acrylic on wood Acrylic on canvas, Chromatic Geometry 22, 51" × 30" × 20 1⁄2" Oil on canvas New York Oil on wood panel on vellum 15 1⁄2" × 15 1⁄2" Heidi Glück 42" × 48" 48" × 48" 2014 Courtesy of Lesley Heller 38" × 42" 35mm documentary 18" × 28" 12" × 18" Courtesy of Fred Giampietro Study for 10 x 60 inch Courtesy of Minus Space, Courtesy of Victor Kord/ Encaustic on panel Workspace, New York Courtesy of David Row/ photograph Courtesy of Don Voisine/ (p. 56) Gallery, New Haven, Panel, 2011 New York June Kelly Gallery, New York 12" × 12" (p. 53) Loretta Howard Gallery, 11" × 14" McKenzie Fine Art, New York Connecticut Acrylic, ink on paper, (p. 29) (p. 38) Courtesy of Kenise Barnes New York Steven Alexander 8" × 10" Fine Art, Larchmont, Corey Postiglione (p. 25) Edward Shalala Stephen Westfall Arcade, 2011–2015 Naomi Boretz Phillis Ideal Irene A. Lawrence New York Lines of Flight # 6, 2014 Untitled, 2015 Otherwise, 2013 Acrylic on linen Prismatic Landscape Heidi Glück Daybreak, 2015 Enceladus, 2015 Acrylic on canvas Anne Russinof #10 weight, raw canvas Oil and alkyd on canvas 30" × 26" #863, n.d. Study for 9 x 45 inch Acrylic, collage on canvas, Oil and acrylic on canvas Joanne Mattera 30" x 30" Tall Vault, 2015 thread flown with a 48" × 48" Courtesy of David Findlay Jr Watercolor, gold, silver Panel, 2011 30" × 30" 20" × 24" Chromatic Geometry 23, Oil on canvas kite with 10–15 mph Courtesy of Stephen Gallery, New York on paper Acrylic, ink on paper 2015 Corey Postiglione 60" × 36" winds forming a random Westfall/Lennon Weinberg, (p. 15) 16" × 20" 9" × 12" Phillis Ideal Irene A, Lawrence Encaustic on panel Lines of Flight # 8, 2014 (p. 74) permutation; North Inc., New York (p. 60) (p. 14) Nightfall, 2015 Landscape/ Stage Set II, 2015 12" × 12" Acrylic on canvas Meadow, Central Park, (p. 49) Steven Alexander Acrylic, collage on canvas Oil and acrylic on canvas Courtesy of Marcia Wood 30" × 30" Cordy Ryman New York Metro, 2014 Naomi Boretz Gail Gregg 30" x 30" 23" × 28" Gallery, Atlanta, Georgia (p. 75) Nine, 2014 35mm documentary Jeanne Wilkinson Acrylic on canvas Undersea, n.d. Gilded Gyre Fragment #44, (p. 67) (p. 73) (p. 33) Lucite, acrylic, enamel, gold photograph City Symmetry 4B, 2015 30" × 26" Watercolor, gold, silver 2015 Lucio Pozzi leaf, graphite, epoxy on 11" × 14" Digital collage printed Courtesy of David Findlay Jr on paper Metal leaf on cardboard Julian Jackson Jane Logemann Creighton Michael A Fact, 2015 wood on aluminum 3 3 Gallery, New York 16" × 20" 11" × 10 1⁄4" × 2 3⁄4" Iris 2, 2015 Green-6 lines, 2010 SCRIPT 214, 2014 Acrylic on canvas, 36" × 36 ⁄4" × 1 ⁄4" Susan Smith 24"× 16" (p. 62) Oil on canvas Oil on canvas Layered acrylic on 30" × 24" Courtesy of Zurcher Gallery, Three Triangles, 2014 Martin Ball Sharon Brant 48" × 48" 26" × 18" concave wood panel (p. 58) New York Found plastic with oil Jeanne Wilkinson Untitled V&A, 2013 #77-2015, (from An Gail Gregg (p. 43) (p. 39) 36" × 34" × 2 1⁄2" (p. 34) on canvas panel City Symmetry 7, 2015 Mixed media on canvas Uncertain Geometry Gilded Gyre Fragment (p. 31) Lucio Pozzi 21 1⁄4" x 21 1⁄4" Digital collage printed 54" × 36" series), 2015 #103, 2014 Roger Jorgensen Jane Logemann Fugue, 2015 Lorenza Sannai (p. 40) on aluminum (p. 61) Alkyd and oil stick Metal leaf on cardboard The Cosmos, 2012 Gray-6 lines, 2011 Creighton Michael Acrylic on canvas Il sogno di Artemide, 2015 24" × 16" on canvas 9 3⁄4" × 10 1⁄4" × 2 1⁄2" Acrylic on linen Oil on canvas SCRIPT 314, 2014 30" × 24" Acrylic on board Richard Timperio (p. 47) Siri Berg 36" × 48" 50" × 62" 15" × 15" Layered acrylic on 24" x 18" x 2" Big Oh, 2015 Black Sheep, 2015 Courtesy of Minus James Gross (p. 57) concave wood panel Raquel Rabinovich (p. 24) Acrylic on canvas Mark Williams Oil on panel Space, New York Canyon, 2011 David Mackenzie 36" × 34" × 2 1⁄2" River Library 340, 2009 54" × 46 1⁄2" Done, 2015 60" x 10" (p. 16) Mixed media on paper James Juszczyk #22-2014-N8, 2014 Arno River mud and glue on Lorenza Sannai (p. 48) Acrylic on canvas Courtesy of Hionas Gallery, 23" × 15" Third Point, 2015 Acrylic and enamel on Manfred Mohr Essindia paper Exactly, exactly now, 2015 42" × 36" New York Henry Brown (p. 52) Acrylic on canvas engineered canvas P1611_2, 2012 19 1⁄2" × 26 1⁄2" Acrylic on board Li Trincere Courtesy of Galerie Wenger, (p. 41) Focal Point, 2015 19" × 30" 20" × 20" Pigment ink on canvas 24" × 18" × 2" Untitled, 2015 Zurich Acrylic, pencil, gesso James Gross 35 1⁄2" × 35 1⁄2" Raquel Rabinovich Acrylic on canvas (p. 19) Emily Berger on canvas Sacrarium, 2014 James Juszczyk David Mackenzie Courtesy of Bitforms River Library 342, 2009, Mary Schiliro 18" × 18" Untitled, 2015 8" × 8" Mixed media on paper Tradition, 2015 #29-2014-JT10, 2014 Gallery, New York Arno River mud and glue on Random Dip 7, 2015 Courtesy of Minus Space, Thornton Willis Oil on wood panel (p. 32) 25" × 18" Acrylic on canvas Acrylic on engineered Essindia paper Acrylic paint on Mylar New York The Congregation, 2012 30" × 24" 20" x 20" canvas Manfred Mohr 19 1⁄2" × 26 1⁄2" 36" × 12" Oil on canvas (p. 70) Henry Brown Lynne Harlow, (p.46) 30" × 30" P2200_1577, 2014 (p. 76) (p. 30) Li Trincere 70" × 52" Pivot, 2015 Accumulation, 2015 (p. 23) Pigment ink on paper Untitled, 2015 Courtesy of Thornton Willis/ Emily Berger Acrylic, pencil, gesso Vinyl curtain, chiffon, Cecily Kahn 31 1⁄2" × 31 1⁄2" Dorothea Rockburne Mary Schiliro Acrylic on canvas Elizabeth Harris Gallery, Untitled, 2015 on canvas Plexiglas® Untitled, 2014 Stephen Maine Courtesy of Bitforms Copper, Paper Pulp, and Dieu Random Dip 8, 2015 18" × 18" New York Oil on wood panel 9" × 11" 72" × 40" × 2" Oil on linen P15-0711, 2015 Gallery, New York Donné #4, 2003 Acrylic paint on Mylar Courtesy of Minus Space, (p. 50) 30" × 24" Courtesy of Minus Space, 35" × 30" Acrylic on canvas (p. 22) Copper foil, paper pulp, 36" × 12" New York Marvin Brown New York (p. 64) 54" × 46" Lascaux Aquacryl; (p. 44) Kes Zapkus Susan Bonfils Untitled, 2011 (p. 42) Courtesy of Hionas Judith Murray mounted on ragboard Claire Seidl Proxies for Covert Action, Collective Diversity #2, 2015 Cut paper collage Cecily Kahn Gallery, New York Expedition, 2014 31 1⁄2" × 23" It Goes without Saying, 2015 Kim Uchiyama 2012 Mixed media 11" × 9" Mara Held Untitled, 2014 (p. 59) Oil on linen (p. 68) Oil on linen Light Study #39, 2014 Oil on acrylic on canvas 16" × 14" Four Clouds, 2014 Oil on linen 40" × 44" 51" × 45" Oil on canvas 72" × 36" (p. 17) Marvin Brown Egg tempera on linen 50" × 35" Katinka Mann Courtesy of Sundaram Dorothea Rockburne (p. 69) 48" × 40" (p. 77) Untitled, 2011 over panel Every Now, 2013 Tagore Gallery, New York Copper, Paper Pulp, and Dieu (p. 26) Susan Bonfils Cut paper collage 48" × 32" Marthe Keller Flattened sculptural (p. 65) Donné #2, 2002 Edward Shalala Nola Zirin Collective Diversity #3, 2015 11" × 9" (p. 63) By Way of Sagittarius, 2013 painting Copper foil, Dieu Donné Untitled, 2015 Vera Vasek Lavender Blue, 2015 Mixed media (p. 13) Acrylic, zinc dust on 37" × 29" × 2" John Obuck paper pulp, Lascaux #12 weight, raw canvas We Shared Moments, 2015 Oil and enamel on canvas, 16" × 14" Daniel G. Hill antique linen (p. 45) Dome, 2015 Aquacryl; mounted thread flown with a Acrylic, mixed media on 40" × 30" Mark Dagley Wheatstone Bridge 5a, 2015 48 3⁄4" × 48" Oil on canvas on ragboard kite with 5–10 mph Plexiglas® Courtesy of June Kelly Power Boothe Final Sequence, 2014 Cotton/polyester thread (p. 71) Nancy Manter 20" diameter 29 1⁄4" × 21 3⁄8" winds forming a random 24" × 24" Gallery, New York Ellipsis #4, 2015 Acrylic and pencil on canvas, and polyester film Be Still #10, 2015 (p. 18) permutation; North (p. 66) (p. 28) Gouache on arches wood 10" × 10" Iona Kleinhaut Flashe, charcoal on Ce Roser Meadow, Central Park, cold press paper 27" × 27" (p. 35) Red Calanque, 2015 wood panel Island Interval, 2015 New York Vera Vasek 15 1⁄2" × 15" (p. 20) Oil on canvas 20" × 16" Oil on canvas 35mm documentary I Was Waiting, 2015 32" × 30" 40" x 40" photograph Acrylic, mixed media (p. 37) 11" × 14" on Plexiglas® (p. 54) 24" × 24"

78 79 historical works books and documents artists' biographies

Esphyr Slobodkina Jack Tworkov AAA The Language of Abstraction, 1979 alice adams, born in New York British Art Show and The Presence susan bonfils was born in Los England and Glasgow Art Museum, The Red L Abstraction Q1-75-S #2, 1975 Edited by American Abstract Poster City in 1930, is known for sculpture of Painting, a survey of 30 years of Angeles, California in 1949. She Scotland. She is author of an illus- Gouache on paper board, framed Oil on canvas Artists Betty Parsons Gallery/Marilyn and site works in the 1970’s and 80’s British abstraction. In addition to studied with Guy Williams at the trated essay, The Reality Underlying c. 1940’s, 6 3⁄4" × 8 3⁄4" 25" × 25" 1939 Pearl Gallery, New York, N.Y. Signed lower right: Slobotkina Titled with dimensions Courtesy of Don Voisine Courtesy of James Gross which engaged in a dialogue be- lecturing internationally, he has University of California at Santa Abstraction in Perception & Pictorial (with a “t”) verso upper left and center tween architecture and landscape. curated exhibitions on contem- Barbara and James Hayward, David Representation, Praeger Publishers. From the collection of © Estate of Jack Tworkov/Licensed American Abstract Artists Exhibition in Honor of Albers, After receiving a B.F.A. in painting porary painting. In 2000, Martin Trowbridge and Stephen Westfall (p. 60) Laurie Fendrich and Peter Plagens. by VAGA, New York, N.Y.; Courtesy Essay by Mondrian Morris, Pereira, Shaw, 1975 from , she stud- received a grant from the Esther & in the College of Creative Stud- Courtesy of the of Alexander Gray Associates, Ram Press, Distributed by Poster ied tapestry design and weaving in Adolph Gottlieb Foundation in New ies. Upon graduation in 1979, she sharon brant was born in Slobodkina Foundation New York Wittenborn and Co., New York, N.Y., Westbeth, New York, N.Y. 1946 Courtesy of James Gross Aubusson, France. Awards include York City. Recently, he had a solo moved to Baton Rouge, Louisiana Bethany, Missouri in 1944. After Ad Reinhardt Balcomb Greene Courtesy of Don Voisine two National Endowment for the exhibition at MoCA, and with her son James and husband, attending the City Art Untitled from X + X (Ten Works Untitled (35-8), 1935 AAA23, The 23rd Annual, 1959 Arts Artist grants and a Guggen- participated in The NEO Show at the Greg Schufreider, professor of Institute she moved to New York by Ten Painters), 1964 Mixed media on paper The World of Abstract Art Poster heim Fellowship. Included in historic . He is an philosophy at L.S.U. Susan has had City in 1966 and then to Beacon, N.Y. Published by Wadsworth 7 3⁄4" × 6" (Framed: 15 1⁄2" × 14") Edited by The American Abstract Betty Parsons Gallery, Associate Professor of Painting at in 2007. In 1968, she was co-founder Atheneum, Hartford, Connecticut © The Estate of Balcomb and Artists New York, N.Y. exhibitions — Eccentric Abstraction, solo exhibitions in Rome, Italy and Silkscreen print Gertrude Greene; Courtesy of Berry Published by George Wittenborn, Courtesy of James Gross 1966 and An International Survey of Kent State University and lives in Oxford University, England. She has of MUSEUM, A Project of Living Composition: 12" × 11 15⁄16" Campbell Gallery, New York Inc., New York, N.Y., 1957 Painting and Sculpture, MoMA, 1986 Kent, Ohio. (p. 61) been included in numerous curated Artists, an artist-run exhibition 15 15 Sheet: 23 ⁄16" × 19 ⁄16" Courtesy of James Gross and Don 20th Annual Exhibition with — her work is also in the collections and group exhibitions. Her work and meeting space at 729 Broad- Frame: 25 1⁄2" × 21 1⁄2" Gertrude Greene Voisine “Painters Eleven” of , 1956 of MoMA, Princeton University Art siri berg was born in Stockholm, is held in prestigious private and way. She was included in the 1972 Courtesy of Don Voisine Project for a Sculpture Poster (34-4), 1934 American Abstract Artists: Riverside Museum, New York, N.Y. Museum, Museum, Sweden in 1921. She studied Art public collections. In 2016, she will Whitney Museum of American Art’s Alice Trumbull Mason Graphite on Paper 1936–1966 Courtesy of James Gross Edwin I. Ulrich Museum, and the at the University in Brussels, at be curating an exhibition, Painting Painting Annual. She exhibited at #1 Towards a Paradox, 1969 10 1⁄4" × 6" (Framed: 17 1⁄2" × 13") Introduction by Ruth Gurin Walker Art Center. Her public L’Institute National Superior des Art Color, at the Glassell Gallery in OK Harris between 1969–1972; AIR Oil on canvas © The Estate of Balcomb and The Ram Press, Distributed by How Modern is the Museum of commissions since 1986 include Decoratifs and d’Architecture and Baton Rouge. (p. 17) Gallery between 1988–1996, the 19" × 24" Gertrude Greene; Courtesy of Berry Wittenborn and Co., New York, Modern Art?, 1940 at Parsons, New School of Design. first artist-run gallery for women in Art © Estate of Alice Trumbull Campbell Gallery, New York N.Y., 1966 Flyer The Roundabout in , Mason/Licensed by VAGA, New Courtesy of James Gross and American Abstract Artists and Beaded Circle Crossing at the She came to the in power boothe grew up in the the U.S.; Margaret Thatcher Projects York, N.Y. Charmion von Wiegand Don Voisine Courtesy of Mondrian/Holtzman Denver airport. (p. 56) the late forties and has lived and San Francisco Bay Area. He studied between 1999–2003; and MoMA Courtesy of Washburn Gallery, To the Goddess, 1966 Trust worked in New York ever since. She painting at the California College PS1 with reviews in Artforum, Art New York Gouache on paper Abstraction in Action: dedicated to steven alexander was born has taught Color and Design, as well of the Arts and the San Francisco International, , 1966 Ilya Bolotowsky, 1982 Riverside Museum, 1941 Piet Mondrian 13 3⁄4" × 19 3⁄4", Framed Poster Brochure in west Texas in 1953. He holds an as Color Theory for over 30 years at Art Institute, as well as at Colorado and The Rail. In 2012 she Sketch for a Composition on a © Charmion von Wiegand Estate; City Gallery, New York, N.Y. American Abstract Artists M.F.A. from Columbia University, the Parsons School of Design. Her College and the Whitney Museum was a recipient of the Adolph and Cigarette Package, 1938–40 Courtesy of Ce Roser Courtesy of Don Voisine Courtesy of Mondrian/Holtzman where he studied with Richard work is in many collections includ- Independent Study Program. For Esther Gottlieb Foundation Grant (catalogue raisonne n. B346) Trust Pousette-Dart and Dore Ashton. His ing the Guggenheim Museum, the thirty years, he lived and worked in and is currently represented by Pencil on paper Herbert Ferber The Russian Avant Garde and AAA Jewish Museum, Herbert F. Johnson Minus Space in Brooklyn, N.Y. (p. 16) 2 3⁄4" / 3 7⁄8" × 2 3⁄4" / 3 7⁄8” Labors of Hercules The Lowe Art Museum, University The Art Critics, 1940 work has been widely exhibited, New York City where he had over 20 Courtesy of Mondrian/Holtzman Bronze of , 1983 Brochure most recently at David Findlay Jr. Museum, and Moderna Museet, one-person exhibitions. His work is Trust 32 3⁄4" × 19 1⁄4" × 8" Cover: Ad Reinhardt American Abstract Artists Gallery in New York, David Richard Sweden. She exhibited at Galleri represented in many public collec- henry brown was born in Wash- Courtesy of Edith Ferber and the Courtesy of James Gross Courtesy of Mondrian/Holtzman Gallery in Santa Fe, and Gremil- Sander Linkoping and Norkoping in tions, including the Guggenheim ington D.C. in 1965. He is an abstract Piet Mondrian Herbert Ferber Foundation Trust lion & Co. Fine Art in . Mr. 2015. (p. 41) Museum, the Whitney Museum painter who interprets pictorial Study for a Composition, AAA the Early Years Part 1 1938–1939 Text by The Language of Abstraction Alexander has been awarded grants of American Art, MoMA, and the space through dynamic geometric (catalogue raisonne n. B341) March 1980–April 1981, Traveling Essay by Susan Larsen from the Pollock-Krasner Founda- emily berger was born in . He has structures. His flat images appear Charcoal on paper Exhibition Distributed by Wittenborn and Co., tion and the Belin Foundation, and in 1953, and lives and works been awarded a National Endow- fixed but illusionism animates his 1 × 1 9 ⁄4" 8 ⁄4" Cover: Burgoyne Diller New York, N. Y., 1979 a studio residency at PS1 Contempo- in Brooklyn, New York. She is a ment for the Arts Individual Artist’s work. Brown alters visual perception Courtesy of Mondrian/Holtzman Courtesy of James Gross Cover: Louis Silverstein Trust Courtesy of James Gross and rary Art Center, as well as numerous graduate of Brown University, and Fellowship, a Pollock-Krasner Grant, to create changing representations AAA the Early Years, 1980 Daniel G. Hill public commissions. He has been received an M.F.A. from Columbia and a Guggenheim Fellowship. of depth within each painting. Harry Holtzman Announcement card Artist-in-Residence at Studio Art University in New York City. She In 2001 he moved to Connecticut He has exhibited at MoMA PS1; Untitled, 1983 Sid Deutsch Gallery, New York, N.Y. Ibram Lassaw Centers International in Florence, attended the Skowhegan School where he is Professor of Painting at Anderson Gallery, Virginia Common- Oil on wood Courtesy of James Gross Sketches and Visiting Artist at Bowdoin Col- of Painting and Sculpture in Maine the Hartford Art School, University wealth University, Richmond, Va.; 87" x 25 1⁄2" x 11 3⁄4 " 1929–1933 Courtesy of Mondrian/Holtzman AAA 22nd Annual Exhibition, 1958 Courtesy of James Gross lege and Parsons School of Design. and has been awarded several art of Hartford. The Giampietro Gallery Jacksonville Museum of Contem- Trust Poster Currently Professor of Visual Arts residency fellowships. Her work has in New Haven, Conn. represents his porary Art, Jacksonville, Fla.; and Riverside Museum, New York, N.Y. American Abstract Artists 26th at Marywood University, he lives been exhibited internationally and work. (p. 36) Gallery Sonja Roesch, Houston, Tex. Harry Holtzman Courtesy of James Gross Annual Exhibition, 1962 and works in the hills of eastern nationally in many galleries, univer- Houston Public Radio KUHF inter- Vertical Volume with Announcement card Yellow and Blue, 1944 American Abstract Artists IBM Gallery, New York, N.Y. Pennsylvania. (p. 15) sities and museums, including the naomi boretz was born in N.Y. viewed Henry Brown for The Front Oil and tape on wood Three Yearbooks (1938, 1939, 1946) Courtesy of James Gross Museum of Modern Art in Bogotá, and lives in N.J. She received an Row. His awards include residencies 17" × 7 3⁄4" Arno Press, New York, N.Y.,1969 martin ball, born in Ashby de-la Colombia, Kent State University in Arts Grant from the N.J. State Arts at Yaddo and The MacDowell Colo- Courtesy of Mondrian/ Courtesy of Don Voisine Letters from Alice Trumbull Mason, Zouch, England, 1948, graduated Kent, Ohio, and the National Acade- Council and was a fellow at the ny. Brown holds an M.F.A. from Pratt Holtzman Trust New York, New York from the Royal College of Art, my Museum in New York City which Writers-Artists Guild in Canada and Institute and two B.A.s from the To Ibram Lassaw, Fort Dix, N.J. 1942–1943 London, in 1973. Martin has an awarded her the John Hultberg the Guthrie Arts Centre in Ireland. University of Maryland. He lives and Courtesy of Cecily Kahn international exhibition record Memorial Prize for Painting. Recent Collections include: Hudson River works in New York City. (p. 32) with solo exhibitions in London, exhibitions include between a place Museum, Joslyn Art Museum, Chicago, New York and Boston. and candy: new works in pattern+ Asheville Art Museum, San Jose marvin brown was born in 1943, Group exhibitions include the first repetition+motif in N.Y.C. (p. 70) Art Museum, Hove Art Museum, Queens, N.Y. and studied at the High

80 81 School of Music and Art with Doro- Columbus Museum of Art, Patricia & Nevelson, Barnet and Moore. In 1981, Museum of Art, The Cleveland Muse- thirty years and now splits her time Brata Gallery with fellow artists Al College. Keller creates paintings, tions of the Cleveland Museum of thy Tabak and May Stevens before Phillip Frost Art Museum, Schneider Gross became affiliated with Althea um of Art, The Museum of Fine Arts, between New York and Santa Fe. Held and Ronnie Bladen. In 1968, installations and assemblages. Since Art and the Whitney Museum of attending the Brooklyn Museum Art Museum of Art, Karl Ernst Osthaus Viafora Gallery and Tibor de Nagy Houston and The Phillips Collection, Ideal has exhibited in major muse- Jorgensen showed his work in the 1974, she has had 24 one-person American Art. Kord is represented School, Philadelphia College of Art Museum, and the Museo de Arte Gallery where he exhibited for the Washington, D.C. (p. 63) ums and galleries in San Francisco, first Ten Downtown exhibition. shows including those at Queens by the June Kelly Gallery in New and Yale University Summer School Contemporáneo de Buenos Aires, next twelve years. He was a finalist Santa Fe and New York. Her work The show garnered critical acclaim College, N.Y.; Garrison Art Center, York City. (p. 38) of Music and Art where he was the including Hauptsache Grau at Mies in the Exxon show of 1982 at the daniel g. hill was born in 1956 is in many private, corporate and for Jorgensen and subsequent N.Y. and Corso Ricorso in Italy and Ellen Battell-Storckel Trust fellow. van der Rohe in Berlin, Germany, Guggenheim and was invited to the in Providence, R.I. He received an A.B., public collections, including the M. exhibitions at A.M. Sachs Gallery. Germany. She has received grants irene lawrence was born in Graduate work was conducted both and a solo show at Minus Space, office of the director for a review of Magna Cum Laude, from Brown Uni- H. de Young Museum, The Oakland Jorgensen continues to paint bold from the N.E.A., NYFA, MacDowell California and grew up on Long at the now Henry Radford Hope Brooklyn, N.Y. She has curated his painting career. The museum also versity and an M.F.A. from Hunter Museum of Fine Arts, The Newport abstractions from his home in and others. Collections include Island. She lives and works in Graduate School of Fine Arts of artist retrospectives, surveys of gave Gross a rare studio visit in 1982 College, C.U.N.Y. He lives and works Harbor Art Museum and The Fine Valley Stream, N.Y. (p. 57) the Metropolitan Museum of Art, Providence, R.I. Lawrence, a painter/ Indiana University and the Graduate abstract painting and is the author by Lisa Dennison. At present, Gross in New York City and is an Assistant Arts Museum of Santa Fe. In recent MoMA and the Whitney Museum printmaker, attended RISD as Division of Brooklyn College of of catalogues essays on Antoni teaches at a small Kansas college and Professor of Fine Arts at the Parsons years, she has exhibited her work in james juszczyk was born of American Art. Her published well as Crown Point Press in San C.U.N.Y. where he studied with Carl Milkowski and Robert Swain. (p. 27) the Koch School of Art. His work is in School of Design. Hill is a multi-dis- Otranto, Italy, Berlin, Germany and in 1943 in Chicago, Illinois. He reviews include Art News, Art in Francisco, Calif. She has exhibited Holty. Further studies in art history the Whitney Museum of American ciplinary artist who has worked in Paris, France. She has taught at San received a B.F.A. from the Cleveland America, Flash Art, and Artcritical. at The Herbert Johnson Museum, and education were undertaken at heidi glück was born in Brooklyn, Art, MoMA, the Guggenheim and The sculpture, installation, painting, Francisco State, U. C. Berkeley and Institute of Art and an M.F.A. from com. Keller lives and works in N.Y.C. Cornell Univ., OK Harris Works of the Mellon Center for British Art at N.Y. in 1944. She studied with Paul Metropolitan Museum of Art. (p. 52) photography and digital media. He Sarah Lawrence. She is represented the University of Pennsylvania. and teaches at . She Art, N.Y., former AXA Collection, N.Y. Yale and the Bank Street College of Feeley, Anthony Caro and Vincent has exhibited in the U.S. for over 35 by David Richard Gallery in Santa Juszczyk received an award from is the founder and president of and Deutsche Kustlerbund, Berlin, Education. Later, he undertook grad- Longo at Bennington College. At lynne harlow was born in years and, more recently, in Europe, Fe, New Mexico. (p. 67) the Pollock-Krasnser Foundation in the BAU Institute arts residency Germany. Her work is included in uate study in architecture at the Hunter College graduate school she Massachusetts in 1968 and currently Asia and Central America. His work 1995. From 1984 until 1992, Juszczyk operating in Europe and N.Y. (p. 71) private, corporate and public collec- Ecoles d’Art Americaine de Fontaine- studied with Tony Smith who also lives and works in Providence, R.I. is held in the collections of the Ar- julian jackson was born in lived and painted primarily in Eu- tions: RISD Museum of Art, Brown bleau, France. He currently resides in employed her as an assistant for sev- She exhibits in the U.S. and inter- kansas Art Center in Little Rock, Ark., Richmond, Virginia in 1953. He rope, first, for a year in Stockholm, iona kleinhaut was born in Univ. Art Collection and University Port Washington, N.Y. (p. 13) eral years. Her work is held in public nationally and holds an M.F.A. from the Sanbao Ceramic Art Institute, lives and works in Brooklyn, N.Y. and then, in Zürich. Since 1974, his New York City in 1955 and continues of Rhode Island Print Collection. In and permanent museum collections Hunter College, C.U.N.Y. In 2002, she Jingdezhen, China and in several He studied painting at Massachu- paintings have been extensively ex- to live and work there. She holds 2014, her book, Motives for Writing: mark dagley was born in 1957 including the Guggenheim, Whitney, was a Visiting Artist at the Chinati corporate and private collections. setts College of Art in Boston and hibited in both the U.S. and Europe. a B.F.A. from Tyler School of Art at A Text in Five Movements, was pub- in Washington D.C. He studied Brooklyn and Israel Museums; the Foundation in Marfa, Texas, where He is the recipient of a fellowship in Virginia Commonwealth Univer- In 2010, he joined the faculty of the Temple University and an M.F.A. lished by Nekomao Press. (p. 73) painting and sculpture at the Mondriaanhuis, Netherlands; the she lived onsite with unrestricted painting from the National Endow- sity in Richmond. His paintings Art Department at the City College from Columbia University. Her work Corcoran School of Art and the Walker Art Center, the San Francisco access to its resources. In 2010, she ment for the Arts. (p. 35) have been exhibited widely, both of New York where he continues to has been exhibited at The New jane logemann was born in Boston Museum School. His first Museum of Modern Art and the was awarded a MacColl Johnson Fel- nationally and internationally. He teach Design and Color Theory. In Museum, The Drawing Center, The 1942 in Milwaukee, Wisconsin. She solo exhibition took place in 1986, Steven and Nancy Oliver Ranch lowship, a $25,000 grant to support gilbert hsiao was born in served as secretary of American 2002, he moved his Riverdale studio Bronx Museum and The Aldrich attended the Layton School of Art at the Tony Shafrazi Gallery. Dagley Collection in Sonoma, California. She new work. In 2011, she was a fellow Easton, Pennsylvania in 1956. Abstract Artists from 2001 through to the Bronx, New York where he Museum. She has received grants and received a B.A. from the Uni- has exhibited frequently in Amster- received a New York State Council on at the BAU Institute’s residency pro- Raised in Terre Haute, Indiana, he 2015. Jackson’s work can be found currently lives and paints. (p. 46) to attend The Millay Colony for the versity of Wisconsin. She lives and dam, Madrid, Düsseldorf, Milan and the Arts Grant. Recent exhibits in- gram in Otranto, Italy. Ms. Harlow’s attended Columbia University in in numerous public and private Arts and The Vermont Studio Cen- works in New York City. Long com- many other European cities. In 1993, clude Two Ways, a Painting Exhibit at work has been reviewed by Artfo- the seventies, where he studied art collections in the United States and cecily kahn was born and raised ter and has been a Visiting Artist mitted to abstract painting, over Dagley had his first Museum exhi- Wagner College SI, N. Y. and Endless, rum, The New York Times, The Boston history, the psychology of percep- Europe including the Museum of in lower , and lives and at the American Academy in Rome. the last three decades Logemann bition at the Kunstverein St. Gallen, Entire at Five Myles Gallery, Brooklyn, Globe and ArchitectureBoston. Her tion and worked as a DJ at WKCR, Modern Art, N.Y.; the Metropolitan works in a loft overlooking Canal She is the Director of the BAU at has developed several series of Switzerland. His work can be found N.Y. She lives and works in Jersey City, work is represented by Minus Space the Columbia radio station. He Museum of Art, N.Y.; the Phillips Street and Broadway. Her work Camargo Arts Residency Award at work always attentive to the basic in the collections of the University N.J. (p. 14) and Liliana Bloch Gallery. Collections received a B.F.A. from Pratt Institute. Collection, Washington, D.C.; and reflects the business of city life. the Camargo Foundation in Cassis, elements of visual abstraction. She of Michigan Museum of Art, the Mu- include The Metropolitan Museum He has participated in residencies the city collection of Salzburg, Born to two artist parents, Wolf France. (p. 72) focuses on the intuitive and some- seo Nacional Centro de Arte Reina gail gregg was born in Topeka, of Art, The RISD Museum of Art and at Art Omi, Marie Walsh Sharpe Austria, among others. He was Kahn and Emily Mason, her grand- times symbolic placement of lines Sofia, Kunstmuseum St. Gallen, the Kansas in 1951. She studied photo- The . (p. 42) Foundation, Millay Colony for the co-founder of Metaphor Contem- mother Alice Trumbull Mason was victor kord was born in Satu for balance, simplicity and color. Her Musée des Beaux Arts La Chaud de journalism as an undergraduate Arts and Gallery Aferro and was a porary Art in Brooklyn, N.Y., curating a founding member and president Mare, Romania in 1935. He studied work can be found in public and pri- Fonds and the Museum of Contem- and took advantage of New York’s mara held, born in 1954, is a native New York Foundation for the Arts more than 80 exhibitions in 10 of American Abstract Artists. Cecily at the Cleveland Institute of Art vate collections which include the porary Art, Buenos Aires. His most numerous art schools to study of New York City. Currently living in the Painting Fellow. His work has been years. (p. 43) Kahn has had several solo exhi- and received B.F.A. and M.F.A. de- Jewish Museum, N.Y.; the Morgan recent exhibitions were at Galerie painting and drawing in the 1980s. Catskills, Held’s work references topog- seen at MoMA PS1, Contemporary bitions in New York City at Lohin grees from Yale University where he Library; Yale University Art Gallery; Caesar, 2015; Minus Space, 2012; and, She received her MFA in visual art raphy and the timbre of the physical Arts Museum Houston, Indianapolis roger jorgensen was born in Geduld Gallery and at The Painting studied with Josef Albers. He lives Stanford University Art Museum, Nyehaus, 2007. He lives and works in from Vermont College of the Visual world. Extensive travel and study of Museum of Art, MassMOCA and St Paul, Minnesota in 1919. In 1938, Center. Kahn has participated in and works in Brooklyn, New York. Calif.; James Michener Collection, Jersey City, New Jersey. (p. 20) Arts. Her work has been exhibited diverse cultures has deeply impacted the New Jersey Center for the Visual he moved to Chicago, enrolling in residencies at William and Mary A teaching career that spanned 45 University of Texas, Austin. (p. 39) around the country; her most recent her work. Visiting Italy often, Held Arts, as well as galleries throughout the School of the Art Institute of College, Kent State University, and years, began at the University of gabriele evertz was born in solo show was Fool’s Gold at the was first introduced to egg tempera the Americas, Asia, Europe and Chicago. In 1941, Jorgensen was the Vermont Studio Center. She is Illinois, Champaign with stops at david mackenzie was born in Berlin, Germany 1945. She lives Five Points Gallery in Torrington, through early Italian Renaissance Art Australia. He currently lives in Brook- drafted and served for four years now chair of the Advisory Board of the University of Wisconsin, Mad- Los Angeles, California and received and works in Brooklyn and has an Connecticut. She shows regularly and became enamored by the light lyn and works in Newark, before returning to Chicago to The Painting Center in New York ison and Virginia Commonwealth B.F.A. and M.F.A. degrees from M.F.A. from Hunter College. She is with the Luise Ross Gallery in New inherent in the medium. Solo exhibi- New Jersey. (p. 29) complete his studies. In 1947, he City. (p. 64) University, concluded with retire- the San Francisco Art Institute. the recipient of The Basil Alkazzi York City. (p. 62) tions include Gary Snyder Gallery, N.Y.; moved to New York to study at ment from Cornell University. He He is an award-winning abstract Award. Evertz has exhibited in solo McClain Gallery, Houston; and, Robert phillis ideal was born in 1942 the Art Students League. In 1951, marthe keller, born in New was the recipient of a Guggenheim painter who has exhibited both and group exhibitions in the U.S., james gross was born in Wichita, Pardo, Milan, Italy. Recent reviews in- and raised in Roswell, New Mexico. he joined Matrix, one of the first York City in 1948, was educated in Fellowship in 1962. Kord’s work was nationally, including the Whitney Argentina, Australia, Brazil, France, Kansas in 1950 and earned an M.F.A. clude The New York Times and a feature She received an M.F.A. from The cooperative galleries. He was also the U.S. and Italy, receiving a B.F.A. included in the Biennial, and internationally. He has Germany, and Italy. Her recent degree from Wichita State. His in Elle Décor Magazine. Her work is in University of California, Berkeley. invited to show with the Kraushaar from Maryland Institute College exhibition at the Whitney Museum been awarded grants by both the exhibitions include MoMA PS1, master teachers included Kaprow, the collections of The Metropolitan She has lived in New York City for Galleries. In 1960, he joined the of Art and an M.F.A. from Queens in 1971. His work is in the collec- National Endowment for the Arts

82 83 and the Pollock-Krasner Foundation. ient of a New York Foundation for and art centers throughout the U.S. john obuck was born in Detroit, critical writing has been published The Golden Mean, astronomy and david row, born in Portland in the collection of the MOCA, San His work is in museum and private the Arts grant, a MacDowell Chubb Abroad, he has had solo exhibitions Michigan in 1949. He received a B.F.A. in Artforum, The , ancient Egypt’s use of proportion Maine in 1949, works in New York Diego, Calif., Microsoft Art Collec- collections throughout the U.S. He Life America Award, The Princeton in Copenhagen, Montreal and Reyk- from Wayne State University and an Dialogue, and C-Magazine. He is and light have been major influences City. Awarded a National Endow- tion, Pizzuti Collections, Raussmuller divides his time between Joshua Atelier David Gardner Award and javík. He has been on the faculty at M.F.A. in painting from the School represented by the Thomas Masters in her art. Selected recent museum ment for the Arts Grant and Nation- Collection, Rubell Family Collection, Tree, Calif. and Morris, N.Y. and main- Materials for the Arts, Verrazano RISD, Pennsylvania Academy of Art, of the . He Gallery, Chicago, Illinois and Space exhibitions: A Gift of Knowing: The al Academy Museum Prize, he shows The Speyer Family Collection, and tains a painting studio in Norwich, Foundation Award, among others. Princeton University and Hunter has lived and worked in New York Gallery, Denver, Colorado. (p. 75) Art of Dorothea Rockburne, Bowdoin throughout the U.S. and interna- the Museum of Contemporary Art, N.Y. as well as in Joshua Tree. (p. 23) Her most recent one-person exhibi- College. (p. 31) since 1979. In 1988 he was awarded College Museum of Art, Brunswick, tionally. Collections and exhibitions Miami. (p. 34) tions have been at 315 Gallery, New the Prix de Rome from the American lucio pozzi was born in 1935 in Maine, 2015; Dorothea Rockburne: include: Amherst’s Mead Art Mu- stephen maine was born in York, College of the Atlantic, Blum manfred mohr was born in Academy in Rome. From 1989 to Milan, Italy. He came to the United Drawing Which Makes Itself, MoMA, seum; Brooklyn Museum; Carnegie lorenza sannai was born in Hartford, Connecticut in 1958 and Art Center, Maine and The Kentler Pforzheim, Germany in 1938. He 1998 he was a lecturer in painting States in 1962, settled in New York N.Y., 2013–14; Dorothea Rockburne: In Museum of Art; Cleveland Museum 1969 in Sardinia, Italy and lives and has lived and worked in the New International Drawing Center, New attended art school in Pforzheim at Princeton University. He was the and took US citizenship. He currently My Mind’s Eye, Parrish Art Museum, of Art; MoCA, San Diego; MFA, works in Hudson N.Y. and Valeggio York City area since 1982. Maine is a York. Recent group exhibitions and Paris. He has lived in Barcelona, recipient of a grant from the Pollack lives and works in Hudson, NY and Water Mill, N.Y., 2011. Collections Houston; The MAC, Dallas; Portland s/M (Verona), Italy. She exhibited at painter, critic, curator and teacher. include the Shirley Fiterman Art Paris and since 1983, New York. He is Krasner Foundation in 2007, 2001 Valeggio s/M (Verona), Italy. Pozzi was include the Museum of Modern Museum of Art; Wichita’s Ulrich Poor Farm, Wisconsin in 2013; in the He is represented by Hionas Gallery Center, New York, 490 Gallery, New considered a pioneer of digital art, and 1992. He also received a Louis honored with a National Endow- Art; The Metropolitan Museum of Museum. His mural, Roundtrip, is in AAA exhibitions To Leo, A Tribute, in Manhattan, where he had a York, and Maine Contemporary Art programming his first computer Comfort Tiffany grant in 1987. The ment for the Arts Fellowship in 1983. Art; The Solomon R. Guggenheim the Washington National Airport. 2014 and Endless, Entire, 2015; and solo exhibition in September, 2015. Center. (p. 55) drawings in 1969. In 1971, he had National Endowment for the Arts Retrospectives of his art were held Museum; The Whitney Museum of Publications include John Zinsser’s at Hal Bromm in 2015. She had He has received support from the the world ‘s first one-person show awarded him grants in painting in at Kunsthalle Bielefeld in 1982 and American Art. (p. 68) Continuous Model: Paintings of David a one-person exhibit at BCB Art, New York Foundation for the Arts joanne mattera was born in of digital art in a museum at ARC 1979, 1980 and 1987. He is repre- Badischer Kunstverein, Karlsruhe in Row, Mark Rosenthal’s Critiques of Hudson, N.Y. in 2014. Sannai was the and Yaddo. He is a member of the Chelsea, Mass. She works in a style Musee d’Art Moderne de la Ville de sented by OHT Gallery in Boston, 1983 in Germany; the Museum of ce roser was born in Philadelphia, Pure Abstraction, Barry Schwabsky’s catalogue editor and the curator of International Association of Art that is chromatically resonant and Paris. Other solo shows in museums Massachusetts. (p. 18) New Art in 2001 in Detroit, Michigan; Pennsylvania. She studied with Hans The Widening Circle, and Joseph the exhibition 10 Ways, ten geomet- Critics, AICA, and his writing has compositionally reductive. She has include: Joseph Albers Museum, Kalamazoo Institute of Art, Michigan Uhlmann at the Hoch Schule Fur Maschek’s Modernities: Art Matters ric abstract artists from the AAA at appeared in numerous print and had solo shows in New York City at Wilhelm-Hack-Museum, Museum jim osman was born in 1956 at St in 2002; Museum of Contemporary Bildende Kunst, Berlin, Germany. For in the Present. He is represented by Derbylius Libreria Galleria d’Arte, online publications including Artcrit- Stephen Haller Gallery and OK Harris for Concrete Art, Kunsthalle Bremen, Vincent’s Hospital in New York City. Art, Genoa, Italy, 2005 and Fabrikcul- the last 40 years, she has worked Loretta Howard Gallery, N.Y. and Milan, Italy and Clement & Schnei- ical.com where he is a contributing Works of Art. She is represented Museum im Kulturspeicher, ZKM. He received B.A. and M.F.A. degrees ture, Hegenheim-Basel, 2011. His work in her New York studio. She is a McClain Gallery, Houston. (p. 25) der, Bonn, Germany in 2015 and at editor. With the artist Gelah Penn, by DM Contemporary where she Group shows include: MoMA, Centre from Queens College, C.U.N.Y. in has been presented at Documenta founder and was executive coordi- dr. julius | ap, Berlin in 2016. (p. 24) he co-curates Diphthong, a roaming curated A Few Conversations About Pompidou, SFMoMA, MoMA PS1, Flushing, N.Y. where he studied 6, 1977 and at the Venice Biennale, nator of Women in the Arts. She is a anne russinof was born in exhibition of process-based art. He Color in January 2015 and by Kenise MACM. He received the ACM SIG- with Tom Doyle and Lawrence American Pavilion in 1980. (p. 58) producer of The Circle of Charmion Chicago in 1956 and is a graduate mary schiliro was born in 1959 teaches in the graduate Fine Arts Barnes Fine Art, Larchmont, where GRAPH Distinguished Artist Award Fane. He has had solo exhibitions von Wiegand, a documentary that of the School of the Art Institute in Brooklyn, N.Y. She received an program of the School of Visual Arts her solo, The Silk Road Paintings, took for Lifetime Achievement in Digital at Lesley Heller Workspace, Long raquel rabinovich was born was shown on PBS in 1978. Her of Chicago. She received an M.F.A. M.F.A. from Hunter College, C.U.N.Y. in New York. (p. 59) place in May 2015. Her paintings and Art, ddaa Award, New York Foun- Island University’s Kumble Gallery in Buenos Aires in 1929 and has works have been shown nationally from Pratt Institute in 1983 and She currently lives and works in New works on paper are in the collections dation of the Arts, Golden Nica Ars and . His work lived in the United States since and internationally and are in the has lived in New York ever since. York City. Her work has been exhibit- katinka mann was born in New of the New Britain Museum of Amer- Electronica, and Camille Graesser has been included in group shows 1967, most recently in upstate New permanent collection of many mu- A former resident at the Yaddo ed nationally in New York, California, York City in 1925 and continues to ican Art, Connecticut; Montclair Art Award. (p. 22) at Metaphor Contemporary Art in York. Rabinovich was the recipient seums and corporations. (p. 37) and Millay Art Colonies, she has Rhode Island, Massachusetts and live and work there. She is an artist Museum, New Jersey; the U.S. State New York City, the Brooklyn Museum of the 2011–12 Award exhibited widely, particularly on the the District of Columbia. Her first in residence at The Elizabeth Foun- Department and institutional and pri- judith murray was born in New and the University of Texas at San for Lifetime Achievement from irene rousseau grew up on Long East Coast. Currently her studio is in international exhibition, Raisonne- dation for the Arts in N.Y.C. from vate collections. She has lived most of York City in 1941. She received an Antonio and, most recently, at The Pollock-Krasner Foundation. Island and lives in Summit, N.J. She the Crown Heights neighborhood ment Circulaire, was in 2012 at 2009 to 2015 and a fellow until 2017. her career in New York City and now M.F.A. degree from Pratt Institute. Morris Warren Gallery. He teaches She is included in the Oral History received an M.F.A. from Claremont of Brooklyn. In addition to her own ParisCONCRET, Paris, France. Schiliro In 2013, she had a fellowship at the divides her time between Manhattan She is the recipient of a John Simon courses in three-dimensional design Program of the Archives of American Graduate Univ., and a Ph.D. from work, Russinof maintains a blog has created site-specific installations Virginia Center for the Creative Arts, and Massachusetts. (p. 33) Guggenheim Fellowship, the and sculpture at Parsons School of Art, . Her New York Univ. Her work is in the called Gallery Travels that focuses for PS122 Gallery, The Art Lot and Amherst, Va. From 2008 to 2009, she American Academy of Arts and Design where he is currently the most recent solo show was at the collection of more than 15 interna- mostly on abstract painting shown Norte Maar in N.Y.C., as well as for was in The Space Program at The creighton michael, born in Letters Award for Painting, and the director of the First Year Program. He Y Gallery in New York City in 2014. tional museums, private, and uni- in New York City. (p. 74) the Islip Art Museum in East Islip, Marie Walsh Sharpe Art Foundation, Knoxville, Tenn. in 1949, received an National Endowment for the Arts lives and works in Brooklyn. (p. 53) Working in a wide variety of media, versity collections. The conceptual N.Y., and for the Imogen Holloway Brooklyn, N.Y. In 1982, she received a M.A. in art history from Vanderbilt Award. Ms. Murray was inducted including drawing, collage, painting, framework of her work encompass- cordy ryman was born in New Gallery in Saugerties, N.Y. She was grant from Polaroid Corp. at Boston University and an M.F.A. from Wash- into the National Academy in 2009. corey postiglione was born in sculpture and installation, her art es structures and patterns that are York City in 1971. He received a B.F.A. the recipient of two Project Studio Museum of Fine Arts, Boston, Mass. ington University in St. Louis. He has Starting in 1976, her solo exhibitions Chicago. He received a B.F.A. in Studio has always been informed by an related to the mathematical coher- from the School of Visual Arts. His residencies at PS122. Schiliro’s works to work with the Polaroid 24" × 20" received grants and awards from at galleries and institutions include Arts from the University of Illinois, underlying awareness of the con- ence found in natural forms. Since work has been exhibited at MoMA are in numerous private collections camera, studio, film and techni- the Pollack-Krasner Foundation, The Clocktower, MoMA PS1, and the Chicago and a Masters Degree in Art cealed aspects of existence that we 2003, she has exhibited, lectured PS1; Visual Arts Center of New Jersey; as well as Swiss Re’s internationally cian. Her work is in the book From NYFA and the Golden Foundation. Dallas Museum of Fine Arts. Group History from the School of the Art don’t see, or that seem to be invis- and published extensively in inter- Museum of Contemporary Art, recognized contemporary collection. Polaroid to Impossible: Masterpieces His work is in the collections of the shows include The Whitney Muse- Institute of Chicago. Since the 1970s, ible. She tries to make the invisible national juried venues. Her work Miami, Fla.; University of Connecti- (p. 30) of Instant Photography, published in Brooklyn Museum, High Museum, um Biennial and in 2015, the Museo Postiglione has exhibited profession- visible. (p. 76) was chosen for a traveling exhibit cut; Bronx River Art Center, N.Y.; 2011 by WestLicht Museum, Vienna, Metropolitan Museum of Art, di Palazzo Grimani at the Venice ally having had over fourteen solo Mathematics and Art by the Ministry Sarah Lawrence College, N.Y.; Esbjerg claire seidl was born in Riverside, Austria. Her art is in many collec- MoMA, National Gallery, McNay Art Biennale. Her works are in many exhibitions and numerous group dorothea rockburne, born of Culture, Paris, France; Science and Museum of Modern Art, Denmark; Connecticut in 1951. She earned a tions in the U.S. and abroad. (p. 45) Museum, Ogden Museum and The collections including the Library of shows, both nationally and interna- in Montreal, Canada in 1932, lives in Art Athens, Greece; Malta Biennale Academy of Arts and Letter, N.Y.; B.F.A. from and Phillips Collection. He has had solo Congress, The Whitney Museum, tionally. He was honored with two New York City. Rockburne attended First Prize Installations; BRIDGES and Contemporary Arts Museum, an M.F.A. from Hunter College and nancy manter was born in 1952 exhibitions at the High Museum, The Brooklyn Museum, and National retrospective exhibitions of his work Black Mountain College, Ashville, N.C., International, Granada, Spain; Banff Houston, Texas. Recent solo gallery later studied at the International in Bangor, Maine. She lives and Katonah Museum, The Queens Academy Museum. Ms. Murray lives at the Evanston Art Center, Illinois in 1950–54, where she studied with Art Center, Canada. Commissions exhibitions include Chimera 45 at Center for Photography. Seidl lives works in Bass Harbor, Maine and Museum, Neuberger Museum, The and works in New York City and 2008 and at the Koehnline Museum mathematician Max Dehn, artists include the Holocaust Memorial, Zürcher Gallery, N.Y. and Galerie and works in New York City and in Brooklyn, New York. She is the recip- Mint Museum and at other galleries Sugarloaf Key, Florida. (p. 65) of Art, Des Plaines, Illinois in 2010. His Philip Guston, and others. Gramercy Park, NY. (p. 51) Zürcher, Paris in 2015. His work is Rangeley, Maine. She has had thirty

84 85 solo shows and numerous exhibi- Galleria d’Arte, Milan, Italy, Clement Sculpture. She has had solo shows the Corcoran Gallery of Art, Wash., mark williams was born in thornton willis was born in kes zapkus, born in Lithuania in nola zirin was born in New York tions in the U.S., Europe and Asia. & Schneider, Bonn, Germany and in New York City at Fox Gallery, D.C.; the National Academy Muse- , Pennsylvania in 1950. 1936 in Pensacola, Florida. He served 1938 as a U.S. citizen, received a B.F.A. City in 1943. She currently maintains Collections and shows include: The dr.julius | ap, Berlin; 40th Anniver- Lohin Geduld Gallery and Janet um, New York, N.Y.; Peabody Essex He studied at North Texas State in the Marine Corps. and received a from the School of the Art Insti- a studio in Long Island City, New Aldrich Museum, The Portland Mu- sary at Hal Bromm Gallery, N.Y., N.Y.; Kurnatowski Gallery and at Kathryn Museum, Salem, Mass.; and Portland University, Denton and the Indepen- B.A. from the University of Southern tute of Chicago and an M.F.A. from York. Zirin received a bachelor’s seum of Art, The Center for Maine Endless, Entire at FiveMyles, Brooklyn, Markel Fine Arts, Bridgehampton, Museum of Art, Portland, Maine. dent Study Program of the Whitney Mississippi and an M.F.A. from the Syracuse University. He lived in Paris degree from New York Universi- Contemporary Art, The University of N.Y. (p. 40) N.Y. and John Davis Gallery, Hudson, Voisine lives and works in Brooklyn, Museum of American Art, New York . He was 1962–1965 and has lived in New York ty, studied painting with Milton Maine Museum of Art, Bates College N.Y. Her work has been reviewed in N.Y. (p. 21) City. He lives and works in New York included in Lyrical Abstraction at City since 1965. Awards include the Resnick and George Ortman and Museum of Art and the Ogunquit richard timperio was born in ARTNews, The Brooklyn Rail, The New City. He is a recipient of grants from the Whitney Museum of American Ryerson Fellowship, CAPS, N.E.A. and printmaking with Bob Blackburn Museum of American Art. Reviews Cleveland, Ohio in 1946. He trained Criterion, The New York Sun and The stephen westfall was born in the Pollock-Krasner Foundation, Art in 1971, American Painting; the Elizabeth Foundation. He has had and Donn Steward. Her work has of her work have been published in at the Cleveland Institute of Art and New York Times. Her paintings are 1953 in Schenectady, N.Y. and re- Artists’ Space, and the National Eighties at the Grey Art Gallery in solo shows in New York City at Gres been shown in solo and group the New York Times, the New Criteri- in 1969, moved to New York City to in the collection of the San Angelo ceived an M.F.A. from the University Endowment for the Arts. His work 1979, and MoMA’s inaugural An Gallery, Stable Gallery, Paula Cooper, shows throughout the United States on, the Brooklyn Rail, Partisan Review, pursue a career as a commercial Museum of Fine Arts, Texas and the of California, Santa Barbara. He is is in many collections including International Survey of Recent John Weber, Andre Zarre, O.K. Harris, and abroad, most recently at June ARTS Magazine, Art in America, New illustrator. Clients included the New Art Museum of South East Texas at represented by Lennon, Weinberg, Yale University Art Gallery, Museum Painting and Sculpture in 1984. He and, most recently, William Holman. Kelly Gallery in New York City and Art Examiner. Her work is on view York Times, Smirnoff Vodka and Beaumont. She is a grant recipient New York. His work is included in the of Fine Arts Houston, and the exhibited with Sydney Janis, Andre Museum retrospectives were held Simon Gallery in New Jersey. She at the American Embassy in Qatar National Lampoon. In 1973, he lived from New York Foundation for the collections of: the Museum of Mod- Staatliche Museum, Berlin, Germany. Emmerich, Andre Zarre, and is at the Carnegie Museum of Art, is represented in numerous public through 2016. (p. 69) and painted in a tiny village in New Arts. (p. 26) ern Art; the Whitney Museum of Williams’ most recent exhibitions represented by the Elizabeth Harris Pittsburgh, Penn. and the National and corporate collections, including Mexico and then moved back to American Art; the Kemper Museum; include a solo show at Galerie Gallery. His work is in the permanent Gallery of Art, Vilnius, Lithuania. The MoMA, the Brooklyn Museum of edward shalala was born in Brooklyn where he has resided for vera vasek was born in Buffalo, the Louisiana Museum, Humlebaek, Wenger, Zurich, Switzerland and collection of the Whitney, MoMA, monograph, Kestutis Zapkus, was Art, the Zimmerli Art Museum at 1949 into a military family in Cleve- the past 35 years. During this time, New York in 1959. Her studies in Denmark; the Munson Williams Three Painters at Barry Whistler The Phillips Collection, and the published in 2014. His paintings are Rutgers University, the National land, Ohio and grew up on U.S. Army he was the art director for Show sculpture began with a concentra- Proctor Museum; the Gallery, Dallas, Texas. (p. 19) Guggenheim. A recipient of a maximalist in attitude, seek musical Museum of Taiwan, the Islip Corps of Engineer bases all over Time at the Apollo and founder and tion in classical realism and tradi- Museum of Art; and the Museum Pollock-Krasner grant, a Guggen- parallels, and are often very large Museum, the Hecksher Museum the world. He attended Kent State director of Sideshow Gallery, one tional bronze casting at Louisiana of Fine Arts, Boston. Westfall has heim fellowship and a Gottlieb with multiples of small events—ab- and the Library of Congress. (p. 28) University, Ohio State University and of the oldest and largest galleries State University in Baton Rouge, received awards from the National Foundation grant, he resides in stractions based on specific content the University of Wisconsin, Madi- in Brooklyn. In 2015, Timperio had Louisiana, where she received a B.F.A. Endowment for the Arts, the Amer- New York City. (p. 50) and world issues. (p. 77) son and earned an M.F.A. in Painting. a one-person show at Andre Zarre While in New York City, her bronze ican Academy of Arts and Letters, A reductive painter, Shalala has Gallery in New York City. (p. 48) work was juried into the Annual the Nancy Graves Foundation, the lived and worked in New York City Exhibition at the National Academy Guggenheim Foundation and the since 1977. He has received grants li trincere was born in 1960 in and the Salmagundi Club in 1986. American Academy in Rome. He from The American Academy of New York City and has exhibited her In search of a new beginning, she teaches at Rutgers University and at Arts and Letters, The Pollock-Krasner work for the past 30 years in Europe left New York in 1988 and eventually Bard College. Westfall has created Foundation, The Wynn Newhouse and the United States. During the found herself in the intertidal zone large-scale wall paintings at Art Foundation, The National Academy early 1980s, she was heavily involved of the Florida Keys, pulling plaster OMI, the McNay Art Museum and Museum and The Cleveland Foun- in the East Village abstract painting images off the tidal markings found U.C., Santa Barbara. (p. 49) dation. His work is in the collections scene and showed at many of the in sand produced by the flow of of The Museum of Modern Art, The landmark venues there including water. Her practice began to focus jeanne wilkinson was born in Metropolitan Museum of Art, The Mission Gallery, Pyramid Club, on process, with the eventual 1949 in Duluth, Minnesota and grew Brooklyn Museum, The Library of Kamikaze Club and The World. In outcome obtained through physical up next to Lake Superior, its clarity, Congress, The Phillips Collection, the late 1980s and early 1990s, she endurance, observation and chance. forms and colors influencing her Art in Embassies and Yale University exhibited at key New York galleries Her home studio is located on Upper abstract aesthetic. After going “back Art Gallery. (p. 54) presenting new abstraction, such as Sugarloaf Key, Florida. (p. 66) to the land” and ten years of dairy Julian Pretto/Berland Hall, Stark Gal- farming in the 1980’s, she felt com- susan smith was born in Greens- lery, and Gabriele Bryers Gallery as don voisine, born in 1952 in Fort pelled to go back to art, which led burg, Pennsylvania and lives and well as at the legendary Galerie Rolf Kent, Maine, attended the Portland her to pursue an M.F.A. at Pratt Insti- works in New York City. She received Ricke in Cologne, Germany. Currently, School of Art and Concept Center tute in Brooklyn where she currently an M.A. from Hunter College, in New she is represented by Minus Space for Visual Studies in Portland, Maine. lives and works. She has taught at photo credits York, studying with Ralph Humphrey, in Brooklyn. Trincere has received He received an honorary B.F.A. Pratt and currently teaches studio Tony Smith, and Vincent Longo. In awards from the National Endow- from the Maine College of Art in art and art history at Kingsborough Alice Adams / William Gordy Jim Osman / Jeffrey Sturges 2008, she received an Academy ment for the Arts, the Pollock-Kras- 2000. Exhibiting regularly in the Community College, C.U.N.Y. Her Emily Berger / Kevin Noble Raquel Rabinovich / Douglas Baz Award and Purchase Award from ner Foundation and NYFA. (p. 44) U.S. and Europe, he will have a solo work now includes digital collage Susan Bonfils /David Humphreys Ce Roser / Kevin Noble the American Academy of Arts and exhibition at the Center for Maine and animation, and has been shown Sharon Brant / Rob Penner Anne Russinof / Paul Takeuchi Letters in New York; and, in 2009, an kim uchiyama was born in Des Contemporary Art in August 2016. in the A.I.R. Biennial, at the Brooklyn Gabriele Evertz / Yao Zu Lu Mary Schiliro / Aron Louis Cohen Edward Albee Foundation Residency Moines, Iowa in 1955 and lives and He served as President of American Academy of Music and numerous James Juszczyk / Edward Castillo Susan Smith / Tom Warren in Montauk, N.Y. Recently, she has works in New York. She studied Abstract Artists, 2004–2012. In 2010, other venues. She is also a writer Marthe Keller / Steven P. Harris Kim Uchiyama / Kevin Noble had solo exhibitions at Isolo 17, at Drake University, Yale Summer he was elected to membership in and a recent piece was published in Iona Kleinhaut / Steven P. Harris Vera Vasek / Alan Kennish Verona, Italy, 2014 and at Galerie School of Art and Music and with the National Academy. His work has the online magazine of Columbia Victor Kord / Becket Logan Charmion von Wiegand / Nina Katan Merkle, Stuttgart, Germany, 2011. artist, Nicolas been reviewed in Art in America, Art Journal. She has two sons who live Irene A. Lawrence / Erik Gould Thornton Willis / Adam Reich Group exhibitions in 2015 and 2016 Carone, at the New York Studio News, The New York Times, and The in Madison, Wisconsin. (p. 47) Stephen Maine / Etienne Frossard Nola Zirin / Jeffrey Sturges include 10 Ways at Derbylius Libreria School of Drawing, Painting and New Criterion. Collections include Katinka Mann / Crystal Gwyn

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