town in Oregon. She began asachild, sculpting but didnot intend to study Claire Falkenstein aesthetic her of basis the was concerns. that science to approach philosophical her and work her of componentsunderlying the define to usedFalkenstein xadn ad iutnosy cuyn ad raig pc) These sketches space). in creating illustrated and were occupying theories simultaneously and expanding of three in Screen” series a to related structures (metal Ending topologicalstructure the 5. and form); “Never (the structure truss the 4. extended,structure” theoretically,ad infinitum– two- (a structure screen – “ensemble” an into again abstract element that could be continuousl modular (a sign the 2. cells); of composed tissue a like much intersections these of that outline breadth her methodologies: 1. the the lattice structure (a network systems fundamentalof encompass welded five of more or will one within categorized explorations, exhibition The work. her define notions embodied her constantly evolving ideas of motion and structure that andinterest anphysics, in and mathematics, the expanding universe. These different materials ofstems from such influences as Albert Einstein’ array an in work Falkenstein’s connects that thread science” “quasi The . in Stadler, Galerie at exhibition an for 1957 in wrote she principles of Falkenstein’s work, which she explained in an artist’s statement Motion in Matter Falkenstein: Claire who Jackson Martha gallerist of legacy championed represented and Falkenstein in the 1960s. the preserves that institution with Elements simultaneously view on be will The exhibition 1995. in Karlstrom Paul and artist the between conducted history interview oral Art American of Archives an of reprint a featuring catalogue, at Michael Rosenfeld Gallery, will be accompanied by a fully-illustrated color large second Falkenstein’s exhibition, The paper. on works and paintings dynamic to metal in explorations seminal to sculptureswood exhibition will also include works in a range of media, from early ceramic and the glass, and metal fused of structures exquisiteher for Celebrated 1997). 1908- (American, Falkenstein Claire of oeuvre prolific the from examples Motion in Matter Falkenstein: Claire York (New complexchanging of substances.” transmuting matter inmotion space, ofin the light density sun is notcompleted it until sets structured quantity: density develops into motion. a quality: a Beginning with in change the force fromWitness to continuity wherein expansion a ofaction from expandingrays. interior to fluxes intofurling exterior a which density, is ‘seen’sun,“The is the a Reciprocal ofpoint energy. Suns hc fs itro ad xeir atraey otatn and contracting alternately exterior, and interior fuse which Celebrating Careera inPainting & Sculpture at the University of Buffalo Art Galleries (May 6-July 29, 2018), an2018), 29, 6-July Galleries(May Buffalo Art ofUniversity the at —

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-Claire Falkenstein,-Claire lie aknti: Time Falkenstein: Claire is pleased to present present topleased is s s theory of relativity -scale solo show solo -scale -dimensional that 1957 - felt it so strongly that right away my so- I there. you're when yourself within it feel [y]ou . . . and art Frenchof and culture “the explaining, Paris, in time ofallowed Theyof individual haveof centuries kind quality. action. the a . her to career partly individuality her this of in most spent Falkenstein confidenceherattributes she and movements, unaffiliatedspecificart with artist, innovative A and Tobey. Mark andversatile Jenkins, friends Paul Francis, her Sam where artists Paris, American to included moved Falkenstein 1950, In language. form open- freer, a towards move her demonstrated Art of Museum Francisco the for room more allow the to and accidental began she and sculpture, to approach her on influence important an had paintingsexpressionist abstract whose Still, began teaching atthe California School of Fine where Arts, she met Clyfford when the Bonestell Gallery1944, mounted a solo exhibition.in In the late City 1940s, she York New in shown first was work Her parts. moveable with forms three-dimensional organic abstract, creating ceramics, and wood in 1940, By Falkenstein living was SanFrancisco in and working predominantly who émigrés László Moholy-Nagy and Kepes. Gyorgy Archipenko, Alexander in relationships spatial with abstract and sculpture. During her motionstudies Oakland rare at Mills, she implied also worked with Bauhaus of in a principles the College exhibition, introduced Mills solo at first study her mounted Francisco achievement for such a young artist. In 1933, Falkenstein San received a grant to in Gallery East-West the year, same That anthropology.philosophyinminors and and art in major a with graduated she 1930 in and passion, her became soon it art when she entered the University of California Berkeley in 1927. However, spontaneous. Falkenstein’s 1949 Falkenstein’s spontaneous. called ‘looking within’ really worked. exhibition at the San San the at exhibition

Claire Falkenstein working on Sun #4, Paris 1954, photo by Leni Iselin. Courtesy of The Falkenstein Foundation

Claire Falkenstein (1908-1997), Wire Sun, c.1960, copper, 20" x 62" x 28 1/2" / 50.8 x 157.5 x 72.4 cm

That's when I developed my own vocabulary.” In Europe, she created some History, Homage to Claire Falkenstein and the Pasadena Museum of of her most important works, such as the Sun Series, sculptures of welded California Art organized the traveling retrospective Beyond Sculpture, wire that revealed her fascination with the sculptural qualities of open and comprised of approximately seventy-five works. That same year, Michael negative space. Her work was exhibited extensively, and she became the Rosenfeld Gallery mounted a solo exhibition focused on a selection of only non-German artist included in the 1952 Werkbund exhibition, revived Falkenstein’s work from the years 1955 to 1975 and she was also included for the first time since its suppression under Hitler. in the group exhibition Impact: The Legacy of the Women’s Caucus for Art at the American University Museum of the Katzen Arts Center at American Falkenstein returned to the United States in 1960 and settled in Southern University in Washington, DC. Most recently, her work was featured California. Represented by Galerie Stadler in Paris and the Martha Jackson alongside masterpieces of the 20th century in Visionaries: Creating a Modern Gallery in New York, she completed numerous public commissions around Guggenheim at the Solomon R. Guggenheim Museum in New York. In 2018, the world including the gates of the Palazzo Venier dei Leoni in (now in addition to the exhibition at UB Art Galleries in Buffalo, Falkenstein’s work the Collection, Venice, Italy). Her first public commission will be included in such international exhibitions as On the Edge: Art in in (1963-1965) was a welded copper tube and glass fountain for Western Europe, 1948-1956 at the Musée d’Art Moderne de la Ville de Paris the California Federal Savings and Loan Association. Known as the Cal Fed in Paris, France and Loved, Lost and Loose: Foreign Artists in Paris 1944-1968 Fountain, the work used water as a sculptural element integral to the overall at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. composition. This work forced Falkenstein to think in terms of the construction and flow of sculpture, revealing her recurring interest in Falkenstein’s diverse body of artwork is currently represented in numerous molecular structure, topology, and cosmology. The most monumental public collections worldwide, including the Art Institute of Chicago; Centre commission of her career was a series of welded doors and glass windows Georges Pompidou; Los Angeles County Museum of Art; Museum of Modern for St. Basil Church in Los Angeles. Completed in 1969, this series revolved Art (New York); National Gallery of Art; Peggy Guggenheim Collection around her notion of the “never ending screen,” a sculptural element she (Venice, Italy); San Francisco Museum of Modern Art; Smithsonian American developed and deployed throughout her career, even incorporating it into Art Museum; Solomon R. Guggenheim Museum; Tate Modern; and Whitney paintings and drawings. Museum of American Art.

A prolific artist, Falkenstein continued to work and exhibit for the duration Michael Rosenfeld Gallery is the exclusive representative of The Falkenstein of her nearly seventy-year career. In 1997, she died at age eighty-nine, and Foundation. soon after, The Falkenstein Foundation was created to preserve her legacy. Since then, her work has been shown regularly in group and solo exhibitions, Michael Rosenfeld Gallery is located at 100 Eleventh Avenue, New York, NY, including the 2015 exhibition Pathmakers: Women in Art, Craft & Design, 10011. Gallery hours are Tuesday–Saturday, 10:00AM–6:00PM. For visuals Midcentury and Today at the Museum of Arts and Design in New York and and additional information, please contact halley k harrisburg, Director, at the National Museum of Women in the Arts in Washington, DC. In 2016, the (212) 247-0082 or [email protected]. Peggy Guggenheim Collection in Venice mounted Postwar Era: A Recent