DOCSLIB.ORG

Robert M. Doty Records Date

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert M. Doty Records Date Title: Robert M. Doty Records Date: July 19, 1977 to March 4, 1988 Creator(s): Doty, Robert M. 1933-1992 Extent: 1.5 linear feet Repository: Currier Museum of Art Reference Library and Archives Abstract From 1977 to 1987, Robert M. Doty served as the Director of the Currier Museum of Art. During his directorship, Doty guided the museum through major exhibitions, art purchases, fundraising and building projects. The Robert M. Doty Records document Doty’s efforts towards expanding the museum’s photography, folk art and contemporary art collections. Comprised primarily of correspondences, Doty’s records also include notes and contracts from a Lotte Jacobi lecture series, agendas and offers of works for sale. Doty’s correspondents include directors, antique collectors, private collectors, scholars, curators and artists. Historical Note Robert M. Doty was born in Rochester, New York on December 23, 1933. He was educated at Harvard University, where he received a B.A. in 1956 and at the University of Rochester, where he studied the history of photography and received a M.A. in 1961. Doty held administrative and curatorial positions at several art institutions. He worked at the George Eastman House, where he organized exhibitions of the work of Lewis Hine (1957), the Photo-Secession (1960) and Bill Brandt (1962). Doty then went on to the Whitney Museum of American Art as an associate curator in 1966 and later became curator in 1970. At the Whitney, he organized several exhibitions, including Human Concern/Personal Torment: The Grotesque in American Art (1968) and Contemporary Black Artists in America (1971). He also organized a retrospective of the work of Lucas Samaras in 1972 and the Whitney's first historical survey of American photography in 1974. Doty left the Whitney in 1974 to become the director of the Akron Art Institute (now the Akron Art Museum), a position he held for three years. He then went to the Currier Museum of Art to serve as the museum’s director from 1977 until his retirement in 1987. Under Doty’s leadership, the Currier’s collection benefitted from private donations and major purchases, which were aided by grants and private gifts. Will Barnet’s Awakening, Alexander Calder’s Petit Disque Jaune, an eighteenth-century Portsmouth side chair by John Gaines III, and Robert M. Doty Records 1 paintings by Tom Blackwell, Richard Estes, Alex Katz, and Neil Welliver were some of the many works and objects brought into the collection. Under his directorship, the physical building of the museum also grew with the addition of two new pavilions designed by the architectural firm of Hardy Holzman Pfeiffer Associates. Major interior renovations throughout the original building were also executed. Doty organized and curated a number of exhibitions at the Currier, including several retrospectives of important contemporary artists, including Will Barnet, Tom Blackwell, Jane Freilicher and Neil Welliver. In 1985, he coordinated, in cooperation with the Shaker Village, Inc., The Canterbury Shakers, an exhibition that showcased life in the Shaker community of Canterbury, New Hampshire, through photographs and examples of Shaker furniture. Doty also focused attention on regional artists with the 1988 juried show New England Now: Contemporary Art from Six States. Doty was an admirer of photography, as well as an advocate of its importance as artistic medium. During his tenure at the Currier, he promoted the exhibition of photography, which helped establish the museum’s reputation as a resource for the study of this medium. Photography and historical surveys at the Currier included The Photo-Secession: The Golden Age of Pictorial Photography in America in 1983. Several photography exhibitions of the work of Lotte Jacobi were also presented, including a display of selected prints and photographs from her private collection in 1982, a one woman showing or her work in 1984, and an exhibition of her collection of theater and dance photographs in 1986. Gifts in 1982 and 1984 from Vincent Vallarino and his mother Edith also benefitted the museum’s photography holdings. Over a hundred photographs and portfolios from the Vallarino’s collection, representing the entire history of photography, were donated. In 1987, Doty resigned as the director of the Currier. After his resignation, he continued to pursue an active career in the arts. He worked part time as the acting director of the New England College Gallery in Henniker, N.H, and he offered his services as a freelance guest curator. Doty also wrote several magazine articles, exhibition catalogue essays and books, including writings on the Photo-Secession and the artists Will Barnet and Jane Freilicher. He also contributed to the Currier’s first Handbook of the Collection in 1979. Doty died in Manchester, New Hampshire on November 22, 1992. For further historical and biographical information on Doty’s life and directorship see: Eaton, Aurore Dionne. The Currier Gallery of Art A History: 1929 – 1989. The Currier Museum of Art: Manchester, NH, 1990, pp. 57 - 65 Robert M. Doty Records 2 Information for Researchers Access Restrictions: This collection is open for research. Use Restrictions: The Robert M. Doty Records are the physical property of The Currier Museum of Art, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned. For all other material, literary rights, including copyright, belong to the authors or their legal heirs and assigns. Researchers are responsible for obtaining permission from right holders for publication and for other purposes where stated. Preferred Citation: Robert M. Doty Records, Currier Museum of Art, Archives Administration Information Processed By: Rose Zevos King (04/25/2014) Scope and Contents Note Three boxes within the Currier Museum of Art, Archives contain the Robert M. Doty Records. The records date from July 19, 1977 to March 4, 1988. The documents within each box consist of letters mainly addressed by Robert M. Doty. The materials are arranged in reverse chronological order. Some records are original documents, while other documents are xeroxed copies. There are significant duplications of materials throughout the three boxes. Important topics include: Letter to Mrs. Edith Vallarino, dated April 22, 1986, mentions the Lotte Jacobi exhibition (1 April – 18 May, 1986). Doty asks for support. Letter located in Box: 3 Folder: February – April 1986 Letter to Mr. Rick Beard of the Hudson River Museum, dated April 4, 1986, discusses the Board of Trustees’s complaints about the amount of photography in the museum’s collection. Letter located in Box: 3 Folder: February – April 1986 --- Another letter, dated March 31, 1986, states a similar issue. Letter located in Box: 3 Folder: February – April 1986 Robert M. Doty Records 3 Letter to Samuel P. Hunt Foundation, dated April 4, 1986, thanks the Foundation’s for its contribution towards the installation of insulating windows. Letter located in Box: 3 Folder: February – April 1986 Letter to Mr. KS Zachos, dated March 28, 1986, sends thanks to Lucille Zimmerman for her check in support of the Currier’s sculpture collection. Letter located in Box: 3 Folder: February – April 1986 Letter to Mrs. John Hunter, dated March 26, 1986, mentions a gift of 51 works on paper from Lotte Jacobi. Letter located in Box: 3 Folder: February – April 1986 Letter to Elizabeth Johanson (c/o James Aponovich), dated March 10, 1986, discusses show and drawings. Letter located in Box: 3 Folder: February – April 1986 Letter to Mrs. John Hunter, dated February 25, 1986, discusses the expansion of the Currier’s contemporary collection. Doty offers thanks for several donations and gifts, including works by John Hatch, Robert E. Mueller, and Kurt Roesch. Letter located in Box: 3 Folder: February – April 1986 Letter to Peter B. Baruzzi, dated February 24, 1986, praises Malcolm Cochran as “the best young artist working in America”. Letter located in Box: 3 Folder: February – April 1986 Letter to Marius Peladeau, dated February 24, 1986, mentions small works by Neil Welliver. Letter located in Box: 3 Folder: February – April 1986 Letter to Henry Petzal, dated October 9, 1986, discusses aspects of Petzal’s monograph, including its size, quantity, introduction, pages, and binding. Letter located in Box: 3 Folder: September – October 1986 Letter to Grace Borgenicht Brandt, dated October 8, 1986, mentions the acceptance of a gift - Construction No. 195 by Jose de Rivera. Doty says this work “fills a major gap” in Currier’s contemporary art collection. Letter located in Box: 3 Folder: September – October 1986 Letter to Bonnie Clearwater of the Mark Rothko Foundation, dated October 6, 1986, asks for funding and support towards the Fannie Hillsmith retrospective. Letter contains biographical information about Hillsmith, including remarks about her contribution to American Art. A budget of the retrospective’s principle expenses attached. Letter located in Box: 3 Folder: September – October 1986 Letter to Frank Ribelin, dated October 6, 1986, mentions Will Barnet’s Awakening. Doty offers an analysis of the painting. He also discusses the painting’s significance as an American work of Robert M. Doty Records 4 art and why it should be preserved in a public institution. Letter located in Box: 3 Folder: September – October 1986 Letter to Joyce B. Dole, dated September 23, 1986, mentions the Currier’s acceptance of two gifts - an untitled gouache by Joseph Kaplon and a collage watercolor, Tunisle Series, by Leo Manso. Letter located in Box: 3 Folder: September – October 1986 Letter to Patricia Hayes, dated May 21, 1986, states the insurance value of the permanent collection. Letter located in Box: 3 Folder: May – June 1986 Letter to John W. Kuykandall, dated May 21, 1986, provides Doty’s opinion of the new building additions and renovations at the Currier. Letter located in Box: 3 Folder: May – June 1986 Letter to John A.
Load more

Recommended publications
  • Reinventing, Downtown
    Reinventing, Downtown By XICO GREENWALD | June 24, 2017 Abstract Expressionists Willem de Kooning, Jackson Pollock and Franz Kline urged a pair of friends to start an art gallery. Tibor de Nagy and John Bernard Myers followed their advice and, in 1950, on East 53rd Street, they opened the Tibor de Nagy Gallery. MEDRIE MACPHEE A Dream of Peace, 2017 oil and mixed media on canvas, 60 x 78 inches In the years to come, Mr. Myers and Mr. de Nagy would exhibit works by a number of second-generation Abstract Expressionists, including Alfred Leslie, Grace Hartigan, Robert Goodnough and Helen Frankenthaler. They also showed figurative paintings by the likes of Larry Rivers, Jane Freilicher, Fairfield Porter and Red Grooms. And Tibor de Nagy editions, the gallery’s book imprint, published poetry by Frank O’Hara, John Ashbery, Barbara Guest and others. Mr. Myers left the gallery in 1970. By that time, Tibor de Nagy had relocated to the 57th Street gallery district. When Mr. de Nagy died in 1993, he bequeathed his business to two young gallery assistants, Eric Brown and Andrew Arnot. Over the next 24 years, Mr. Arnot and Mr. Brown built on the gallery’s legacy together, exhibiting New York School pictures alongside works by select contemporary artists influenced by New York School poets and painters. But in the fast-paced New York art world, perhaps the only constant is change. Mr. Brown departed from the gallery this year. And now Mr. Arnot has relocated Tibor de Nagy to the Lower East Side, partnering with Betty Cuningham Gallery in a space-sharing agreement.
    [Show full text]
  • JANE FREILICHER, MIRA DANCY, DANIEL HEIDKAMP January 6 - February 5, 2017 OPENING RECEPTION: Friday, January 6, 2017, 6-8Pm
    ! JANE FREILICHER, MIRA DANCY, DANIEL HEIDKAMP January 6 - February 5, 2017 OPENING RECEPTION: Friday, January 6, 2017, 6-8pm Derek Eller Gallery is pleased to present an exhibition of works by Jane Freilicher, Mira Dancy, and Daniel Heidkamp. Freilicher's historic paintings will be hung in conversation with new work by contemporary artists Dancy and Heidkamp in a show that highlights common interests: improvisation, painting as a window, studio as subject, and the desire to interact with, and, at times, reinvent the New York cityscape. From the 1950s until her death in 2014, Jane Freilicher painted images of the countryside and the city as seen from her studios in Watermill and Manhattan, New York. In company with the work of her peers Fairfield Porter and Larry Rivers, Freilicher’s paintings utilized expressionist technique but were in direct opposition to the heroic abstraction that was in vogue when she began her career. The gallery will exhibit paintings from the 1980s, 1990s and 2000s depicting the view from her lower Fifth Avenue studio window. This body of work documents the changing skyline of lower Jane Freilicher, Window on the West Village, 1999, oil on Manhattan, albeit imprecisely; Freilicher admittedly would linen, 24 x 28 inches. reinvent things when the paintings needed it. In a 2009 interview, poet and fellow New York School member John Ashbery described her work as “inviting the spectator to share her discovering of how impossible it is really to get anything down.” As a result of this process, the subject of these paintings seems less the city and more a celebration of intuitive image making or the sanctuary of the studio.
    [Show full text]
  • Frank O'hara As a Visual Artist Daniella M
    Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way.
    [Show full text]
  • Parrish Art Museum Annual Report 2019
    REPORT 2019 PARRISH ART MUSEUM METRICS 60,981 734 TOTAL ATTENDANCE EDITORIAL PLACEMENTS 1,753 66 RESIDENT BENEFITS MEMBERS SCHOOL & COMMUNITY PARTNERSHIPS 4,173 305 MUSEUM MEMBERS ARTS + LANGUAGE STUDENTS ENGAGED 18 375 EXHIBITIONS ARTIST-IN-RESIDENCY STUDENTS 141 1,350 NEW ACQUISITIONS ACCESS PARRISH PARTICIPANTS 151 253 PERMANENT COLLECTION WORKS ON VIEW COLLABORATIVE & OUTREACH PROGRAMS 72 335 CONCERTS, TALKS, FILMS, PROGRAMS SCHOOL, GROUP, AND DOCENT-LED TOURS 30,024 81 SOCIAL MEDIA FOLLOWERS WORKSHOP SESSIONS FOR ADULTS 437 114 MOBILE APP USERS FAMILY PROGRAMS AND VACATION WORKSHOPS 2019 HIGHLIGHTS In 2019, the Parrish Art Museum continued its commitment to deepening The Education department, in addition to a rich schedule of classes and and expanding community partnerships; presenting engaging, unique workshops for children and adults, completed its fourth successful year of public programs; creating initiatives targeting underserved groups; Access Parrish, reaching nearly 1,400 people through 8 community organizing exhibitions that offered fresh scholarship on important artists partnership. 2019 marked the launch of Art in Corrections—a pilot and timely topics; and building its collection through the generosity of program at Suffolk County Correctional Facility in Riverhead, facilitated by foundations, artists, and individuals. The Museum added 140 new our own teaching artists Monica Banks, Jeremy Dennis, Eric Dever, Laurie paintings, photographs, and drawings in 2019, and more than 60 were on Lambrecht, Bastienne Schmidt, and Barbara Thomas. view. We are grateful for everyone who supported the Museum in 2019— We are truly grateful to The Saul Steinberg Foundation for its gift of 64 Our program and education funders and supporters of benefit events like works by the artist, and to Louis K.
    [Show full text]
  • Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN and CONTEMPORARY ART and DESIGN
    Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Wednesday, December 18, 2019 at 10am EXHIBITION Saturday, December 14, 10am – 5pm Sunday, December 15, Noon – 5pm Monday, December 16, 11am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $25 THE ESTATE OF SYLVIA MILES Doyle is honored to offer artwork and It was Miles’ association with Andy Miles’ Central Park South apartment, memorabilia from the Estate of Sylvia Warhol as a close friend and one of which she occupied from 1968 until her Miles (1924-2019). Twice nominated the so-called “Warhol Superstars” that death earlier this year, was filled with for an Academy Award, Miles is best cemented her status as a New York icon. memorabilia from her career and artwork PAINTINGS, SCULPTURE, remembered for her strong performances Miles had a starring role in Warhol’s gifted by her talented group of friends, in diverse works ranging from Midnight 1972 film Heat, the third in a trilogy that particularly Warhol. Cowboy to Sex and the City, as a bona parodied Sunset Boulevard, alongside PHOTOGRAPHS & PRINTS fide “Warhol Superstar,” and as a Joe Dallesandro. Property from the Estate of Sylvia Miles prominent and frequent figure on comprises lots 18, 21, 34-36, 62-65, 67, the Manhattan party scene. 73, 90, 99, 102, 103, 105, 127-131, 144, 146, 166. INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS Elsie Adler Paintings 1-155 Evelyn Berezin Prints 156-171 Arthur Brandt Furniture & Decorative Arts 172-253 Miriam Diner Silver 254-270 Steven R.
    [Show full text]
  • Annual Report 2018
    2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach.
    [Show full text]
  • Fall Arts Festival 1980 September 12,13,14
    FallArts Festival 1980 Fall Arts Festival 1980 September 12,13,14 Lower Cape Arts and Humanities Council Fall Arts Festival Ben Brooks Nancy Hall Brooks, Coordinators Table of Contents Edward M. Kennedy Fall Arts Festival ..................................... The Arts Colony by Ben Brooks ......................... Scott Himstead "Blackberries" and "At the Cove" poems by Mary Oliver . Featured Exhibitions Hans Hofmann .................................... Charles Hawthorne ................................. Edwin Dickinson ................................. Alvin Ross ........................................ Varujan Boghosian ................................. Dena ............................................. Open Studios & Galleries Wellfleet ................... Lower Cape Arts and Humanities Council ................ Open Studios & Galleries Provincetown ............... Open Studios & Galleries Truro ...................... Festival Schedule .................................... "Indian Summer at Land's End" poem by Stanley Kunitz .... CATALOGUE The Artists .......................................... Editors Ben Brooks and Nancy Performers and Events. ................................ Cover and design Jan Filios Demonstrationsat Truro Center for the Arts at Castle Hill . Text Ben Brooks "Provincetown: February” poem by Vanessa Ryder ....... Maps Bethia Brehmer Advertising Representative Helen Fernald Printing Thompson's Printi Funded in part by the Massachusetts Council on theArts & Humanities Fall Arts Festival The second annual Fall Arts Festival
    [Show full text]
  • Share Your Creations with Us on Social Media! Follow Us @Curriermuseum on Instagram and Follow Us on Facebook. #Currierfromhome
    Jane Freilicher was an American representational painter known for her distinctive painterly realism. She is most noted for her Long Island landscapes seen from her Water Mill studio window, and her views of downtown Manhattan, often juxtaposed with still life objects in the foreground. Notice the tree in the foreground of Cherry Blossoms. Freilicher came of age in the era of Abstract Expressionism at the center of a group of influential artists and poets, including painters Willem de Kooning, Rudy Burckhardt, Joan Mitchell, Larry Rivers, Fairfield Porter, Alex Katz and Jane Freilicher, Cherry Blossoms poets John Ashbery, Kenneth Koch, and Frank O’Hara. To Painted Outdoors, 1977. Oil on learn more about Abstract Expressionism in the Currier’s canvas, 36 in. x 36 in. Gift of collection click here. Howard and Beverly Zagor. Activity: Q-tip Tree Painting Materials: • Paper and pencil • Drawing utensils such as crayons, markers, or colored pencils • Q-tips • Paint • Cups for paint Directions: • Use your pencil to draw a simple tree on your paper. • Add color to the ground and tree trunk and branches using your drawing utensils. • Dip a Q-tip in a paint color and dot it onto the paper to create leaves and flowers in the branches of the tree. Try layering different colors. • Use the Q-tip to add more dots to the ground for fallen leaves. Tips: • Try different color combinations to represent different times of the year, such as light green, pink, and white for spring cherry blossom trees or red, orange, and yellow for autumn foliage. • See what other household items you can use as a “paintbrush” such as toothpicks or chopsticks.
    [Show full text]
  • Jane Freilicher Selected Press
    JANE FREILICHER SELECTED PRESS Jane Freilicher Is the "Absurdly Underrated" Artist Who Painted Flowers Like No One Else Could JULIA FELSENTHAL APRIL 20, 2018 [EXTRACT] Jane Freilicher, Early New York Evening, 1954 Photo: Courtesy of Paul Kasmin Gallery 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com Jane Freilicher in the studio, 1972, Photo: Joe Hazan. Jane Freilicher, The Painting Table, 1954. Photo: Courtesy of Paul Kasmin Gallery. The paintings in the Kasmin show—all but two date back to the ’50s (many hung in her and Ashbery’s homes)—were made in the heady early days of these creative friendships (Hazan compares her mother and the poets to Patti Smith and Robert Mapplethorpe in Just Kids). It was an era when O’Hara, who wrote a slew of poems devoted to “Jane,” would come over and help her stretch her canvases; when Ashbery would drop by to watch her paint; when Kenneth Koch, her onetime upstairs neighbor, would don a gorilla mask and scare passengers on the elevated train that rumbled past their windows. (He once said of Freilicher: “I never enjoyed conversation with anyone so much in my 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com life.”) A pair of paintings were made in 1952, the year that Ashbery, O’Hara, and James Schuyler motored out to the Hamptons to shoot a short film penned by Schuyler called Presenting Jane. They never finished it, but recently recovered clips of the footage reveal a very young Freilicher seemingly walking on water.
    [Show full text]
  • Ben Aronson Biala, Nell Blaine, Jane Freilicher
    October 9, 2010 FOR IMMEDIATE RELEASE Ben Aronson Risk and Reward October 21 – November 27 The Tibor de Nagy Gallery is pleased to present new paintings by Ben Aronson. The exhibition marks his third with the gallery. The paintings included in the exhibition represent the artist’s recent inquiry into the realm of finance; players such as Wall Street traders and auctioneers participate actively in the commodification of art, bringing about risks as well as rewards. Despite the apparent intimacy of the painted compositions, Mr. Aronson creates a palpable distance between subject and viewer. We look directly at traders on the floor of the New York Stock Exchange, but they do not acknowledge us. A group of three figures huddled together in a dimly-lit restaurant seem as disengaged with one another as they are with the viewer. The works, both large and small in scale, are rigorously painted and capture the ever-changing light as it both conceals and articulates the forms of the streets and buildings, some falling into shadow. Ben Aronson received both his B.A. and M.A. degrees in painting from Boston University. He has been the recipient of four National Academy of Design awards and has also taught graduate school seminars at Harvard University. His work has been exhibited and collected widely throughout the United States, most notably the Boston Museum of Fine Art, Museum of Fine Arts, Houston, and the Denver Museum of Contemporary Art, among others. Catalogue Available Biala, Nell Blaine, Jane Freilicher Selected Works October 21 – November 27 The Tibor de Nagy Gallery is pleased to present a selection of paintings by the celebrated women artists whose work has been shown actively in New York since the 1950s.
    [Show full text]
  • Painters of the East End
    Painters of the East End JULY 11 – AUGUST 16, 2019 297 TENTH AVENUE Kasmin is pleased to announce Painters of the East End, on view at 297 Tenth Avenue between July 11 – August 16, 2019. The exhibition explores the commonalities and distinctions of the work produced amongst the coterie culture of Long Island’s South Fork during the mid-twentieth century, including Mary Abbott, Nell Blaine, Perle Fine, Helen Frankenthaler, Jane Freilicher, Elaine de Kooning, Lee Krasner, Joan Mitchell, Charlotte Park, Betty Parsons, and Jane Wilson. Artists have historically converged on Long Island seeking inspiration from the landscape and an escape from their confined urban studios, while still retaining access to the energy of New York City. With the mass influx of the European avant-garde following the onset of World War II and the subsequent establishment of the New York School, a thriving and collaborative artist-based community was born in the East End. The Hamptons of the New York School was untamed, inexpensive, and a bastion of bohemian living. The opportunities provided by the area’s open spaces were developmental for the painters who set up there not only because of their practical advantages—larger studios, relative quiet—but for novel subject-matter that allowed for contemplations of the horizon, rural landscapes, and bodies of water, nodding to the lineage of the Romantic sublime. 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com Perhaps most crucial for these artists was their shared inspirations which led to a new model of community, differing in both structure and character from the frenetic energy of lower Manhattan.
    [Show full text]
  • James S. Jaffe Rare Books Llc
    JAMES S. JAFFE RARE BOOKS LLC OCCASIONAL LIST: NEW YORK ANTIQUARIAN BOOK FAIR 2020 P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. WITH AN ORIGINAL PHOTOGRAPH 1. [ART – BURCKHARDT] KATZ, Vincent & Rudy BURCKHARDT. Boulevard Transportation. Tall 8vo, illustrated with photographs by Rudy Burkhardt, original pictorial wrappers. N.Y.: Tibor de Nagy Editions, 1997. First edition. One of 26 lettered copies signed by the artist and poet, and with an original photographic print by Burckhardt, signed with the title “Rain Pavement” and dated 1995 in pencil on the back, tipped in as a frontispiece. The image “Rain Pavement” is not one of the images reproduced in the book. A fine copy. $3,500.00 2. [ART – CELMINS] CELMINS, Vija. Drawings of the Night Sky. Oblong folio, illustrated, original linen, in publisher’s card slipcase. London: Anthony d’Offay, (2001). First edition. Limited to 480 copies signed by Celmins. Comprises portraits of the artist by Hendrika Sonnenberg and Leo Holub, reproductions of drawings by Celmins, and an essay entitled “Night Skies: The Distance Between Things” and an interview with the artist by Adrian Searle. Laid in is a separately printed insert with a portrait of the artist by James Lingwood and, on the verso, William Butler Yeats’s poem “The Lake Isle of Inisfree.” As new. $500.00 INSCRIBED BY KANDINSKY TO JAMES JOHNSON SWEENEY 3.
    [Show full text]