Abstract Expressionism
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JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs. -
The Gulf Stream
The Gulf Stream During those long war years, the cafeteria was our hangout evenings and nights. Sometimes though, we would just adjourn for a walk. Our walks would follow closely an itinerary of favorite streets. We started and ended always at the cafeteria. First we would walk east on Eighth Street passing the Hofmann School. On the corner of Eighth and Macdougal was the Jumble Shop restaurant. It was most active at lunchtime with art people from the Whitney Museum, which was in the middle of Eighth Street. [The building is now occupied by the New York Studio School.] The Whitney was an art group somewhat detached from us. Through the large windows of the Jumble Shop we would see on some evenings the cubist painter Stuart Davis talking away and Arshile Gorky waving his arms and stroking his long mustache. With them, especially when they were at the bar, were important-looking people. Maybe collectors. Very often they were Gorky’s own coterie—Raoul Hague, the sculptor, and Emanuel Navaretta, the poet. In later years, Emanuel and his wife Cynthia hosted a weekly open house for poets and writers, where Gorky was a regular. Or taking a left on Fifth Avenue to Fourteenth Street, then right on University Place and back to the park and Washington Square Arch, and across to Sullivan and MacDougal Streets, and another block further down on MacDougal Street we would go to the San Remo restaurant. Around this area in little Italy were various cafés and restaurants. Wandering here and there and stopping now and then, we zigzagged Sullivan and Thompson Streets, crossing and re-crossing. -
Artist Among the Ruins. Art in Poland of the 1940S and Surrealist Subtexts
24 Artist Among the Ruins. Art in Poland of the 1940s and Surrealist Subtexts DOROTA JARECKA 372 Dorota Jarecka Dorota Jarecka is an art historian specialising in modern and contemporary art in Poland, as well as a critic and director of Galeria Studio in Warsaw. She is the author of Erna Rosenstein. Mogę powtarzać tylko nieświadomie / I Can Repeat Only Unconsciously (with Barbara Piwowarska, 2014), Anda Rottenberg. Już trudno. Rozmawia Dorota Jarecka (2013), and co-editor of Ewa Zarzycka. Lata świetności / Ewa Zarzycka. Heyday (2015), Natalia LL. Doing Gender (2013), and Krystiana Robb-Narbutt. Rysunki, przedmioty, pracownia / Krystiana Robb- Narbutt: Drawings, Objects, Studio (2012). Between 1995 and 2012 she published regularly as an art critic in the newspaper Gazeta Wyborcza. Te text that follows is a revised version of an essay frst published as ‘Artysta na ruinach: Sztuka polska lat 40 i surrealistyczne konotacje’ in Miejsce: studia nad sztuką i architekturą polską XX I XXI wieku, issue 2 (2016). Te essay ofers a new framework for understanding art in Poland in the immediate aftermath of the Second World War, focussing on developments in Kraków and Warsaw, which both showed a bias towards Surrealist forms and ideas. Surrealism appeared to provide a third way between aestheticism and the Socialist Realism that the newly-established Socialist state was soon to impose. Cultural ties with other countries in Europe had not yet been severed completely in the years 1945 to 1948, and the choice of Surrealism undoubtedly had political dimensions. Surrealists in France, Czechoslovakia, and Yugoslavia were considered traitors by the Communist Party as early as the 1930s and stigmatised as ideological enemies. -
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No. -
DONALD JUDD Born 1928 in Excelsior Springs, Missouri
This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970. -
Kazimir Malevich : Suprematism
MM* I dkCi'K*^ R2Bf93 RHPC .v. LAY « QE H I IE H „^K Kazimir Malevich suprematism Organized by Matthew Drutt i , i Essays by Matthew Drutt, Nina Gunanova, Jean-Claude Marcade. Tatiana Mikhienko, Evgenia Re'trova, and Vasilii Rakitin > A Guggenheim Museum Publication 272 pages; 180 illustrations, 120 in full color In 1915,' Kazimir Malevich (1878-1935) changed the future of Modern art his . when experiments in painting led the Russian avant-garde into pure abstraction. He called his innovation Suprematism—ra'h art of pure geometric form meant to be universally comprehensible regardless of cultural or ethnic origin. His Suprematist masterpieces, including Black Square (1915) and White Square on White (1920-27), continue to inspire artists throughout the world. Accompanying the first exhibition to focus exclusively on this defining moment in Malevich's- career, Kazimir Malevich; .Suprematism features nearly 120 paintings, drawings, and objects, among them several recently rediscovered master- works. In addition, the book includes previously unpublished letters, texts, and diaries, along with essays by. international scholars, who shed new light on this influential figure and his devotion to the spiritual in art. mD&1 itBS t-J3 mm rassas ^^mm Kazimir Malevich: Suprematism Kazimir Malevich MATTHEW DRUTT u-> Guggenheim m us eu M Published on the occasion of the exhibition Kazimir Malevich: Suprematism Organized by Matthew Drutt Deutsche Guggenheim Berlin January 14-April 27, 2003 Solomon R. Guggenheim Museum, New York May 13-September7, 2003 The Menil Collection, Houston October 3, 2003-January 1 1 , 2004 This exhibition is sponsored by ^ /4L FAB/INK Kazimir Malevich: Suprematism © 2003 The Solomon R. -
Cultural Syllabus : Russian Avant-Garde and Radical Modernism : an Introductory Reader
———————————————————— Introduction ———————————————————— THE RUSSIAN AVANT-GARDE AND RADICAL MODERNISM An Introductory Reader Edited by Dennis G. IOFFE and Frederick H. WHITE Boston 2012 — 3 — ——————————— RUSSIAN SUPREMATISM AND CONSTRUCTIVISM ——————————— 1. Kazimir Malevich: His Creative Path1 Evgenii Kovtun (1928-1996) Translated from the Russian by John E. Bowlt Te renewal of art in France dating from the rise of Impressionism extended over several decades, while in Russia this process was consoli- dated within a span of just ten to ffteen years. Malevich’s artistic devel- opment displays the same concentrated process. From the very begin- ning, his art showed distinctive, personal traits: a striking transmission of primal energy, a striving towards a preordained goal, and a veritable obsession with the art of painting. Remembering his youth, Malevich wrote to one of his students: “I worked as a draftsman... as soon as I got of work, I would run to my paints and start on a study straightaway. You grab your stuf and rush of to sketch. Tis feeling for art can attain huge, unbelievable proportions. It can make a man explode.”2 Transrational Realism From the early 1910s onwards, Malevich’s work served as an “experimen- tal polygon” in which he tested and sharpened his new found mastery of the art of painting. His quest involved various trends in art, but although Malevich firted with Cubism and Futurism, his greatest achievements at this time were made in the cycle of paintings he called “Alogism” or “Transrational Realism.” Cow and Violin, Aviator, Englishman in Moscow, Portrait of Ivan Kliun—these works manifest a new method in the spatial organization of the painting, something unknown to the French Cub- ists. -
“Abstract Expressionism's Counterculture
Abstract Expressionism’s Counterculture: The Club, the Cold War, and the New Sensibility by Valerie Hellstein In the popular and even scholarly imaginations, Abstract Expressionism is epitomized by the photographs of Jackson Pollock brooding over his canvas. Here, the isolated, genius artist empties his guts onto the canvas for all to see. The prevailing narrative, predicated on psychoanalytic and Sartrean notions of the self, interprets this depiction as a shift from the collectivism of the 1930s to the fraught ideological individualism of the Cold War. This narrative is bolstered by the artists‟ disavowals of group identity and vociferous claims of individuality. Willem de Kooning declared, “Personally, I do not need a movement,” and the sculptor David Hare at the Artists‟ Sessions at Studio 35 did not see the need for a community and suggested that “this group activity, this gathering together, is a symptom of fear.”i In spite of these statements, beginning in the late summer or early fall of 1949, the artists procured a loft at 39 East Eighth Street in order to have a place to gather together. Instead of the isolated, tortured artist, today, I want to suggest a different picture of the Abstract Expressionist that includes artists visiting each others‟ studios and dropping by The Club several nights a week to share the news of the day and listen to a talk or participate in a panel discussion. In our incessant focus on the individual, we have overlooked the importance of the social milieu and the crucial role The Club played in the formation of Abstract Expressionism. -
Text Panel Taking Shape
Taking Shape: Abstraction from the Arab World, 1950s–1980s Grey Art Gallery, New York University January 14–April 4, 2020 Main Text Panel and Individual Object Labels Main Text Panel Taking Shape: Abstraction from the Arab World explores mid-20th-century abstract art from North Africa, West Asia, and the Arab diaspora—a vast geographic expanse that encompasses diverse cultural, ethnic, linguistic, and religious backgrounds. Comprising nearly 90 works by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and the United Arab Emirates (UAE), the exhibition is drawn from the collection of the Barjeel Art Foundation based in Sharjah, UAE. The paintings, sculpture, drawings, and prints on view here reflect the wide range of nonfigurative art practices that flourished in the Arab world over the course of four decades. Decolonization, the rise and fall of Arab nationalisms, socialism, rapid industrialization, wars and mass migrations, and the oil boom transformed the region during this period. With rising opposition to Western political and military involvement, many artists adopted critical viewpoints, striving to make art relevant to their own locales. New opportunities for international travel and the advent of circulating exhibitions sparked cultural and educational exchanges that exposed them to multiple modernisms—including various modes of abstraction—and led them to consider their roles within an international context. The featured artists—a varied group of Arab, Amazigh (Berber), Armenian, Circassian, Jewish, Persian, and Turkish descent—sought to localize and recontextualize existing 20th-century modernisms, some forming groups to address urgent issues. Moving away from figuration, they mined the expressive capacities of line, color, and texture. -
9Th St. Club Elaine De Kooning, Perle Fine, Helen Frankenthaler, Grace Hartigan, Lee Krasner, Mercedes Matter, Joan Mitchell
© Grace Hartigan, Untitled, 1965. Courtesy ACA Galleries, New York 9th St. Club Elaine de Kooning, Perle Fine, Helen Frankenthaler, Grace Hartigan, Lee Krasner, Mercedes Matter, Joan Mitchell Private view: January 16th, 2020 Exhibition: January 17th – February 23rd, 2020 Tuesday Talk with Mary Gabriel and Rex Stevens, moderated by Will Corwin: 6-8 pm February 4th, 2020 Gazelli Art House presents ‘9th St Club’ as part of its ongoing series of exhibitions exploring key art movements of the 20th century. The exhibition features works from Elaine de Kooning, Perle Fine, Helen Frankenthaler, Grace Hartigan, Lee Krasner, Mercedes Matter and Joan Mitchell, and is inspired in part by Mary Gabriel’s acclaimed 2018 book ‘Ninth Street Women’. Gazelli Art House is the first gallery to show these artists together in the UK, and the show follows the Tate Modern’s opening of a new room devoted to the work of Helen Frankenthaler, and a recent Lee Krasner retrospective at the Barbican. “It is pertinent to highlight these artists and draw on the parallels and ever-changing dynamics between the US, Europe and the UK today. As ever, we look to one another for reference within our own socio-political contexts, and are culturally in dialogue via the art each scene produces,” says Mila Askarova, Director of Gazelli Art House. The artists belonged to the movement sometimes known as ‘Abstract Expressionism’ and were thought of as rebels and troublemakers making spirited work that inspired disobedience. Their paintings highlighted an emerging individualism, and beckoned towards an almost mythological heroic and revolutionary spirit in the new era of the self, supported by the acceptance of European abstraction in New York and notions of Freudian psychoanalysis. -
Tarsila Do Amaral's Abaporu
© Michele Greet, 2015 Devouring Surrealism: Tarsila do Amaral’s Abaporu Michele Greet Various scholars have suggested a contiguity or affinity between Brazilian artist Tarsila do Amaral’s iconic painting Abaporu (1928) and surrealism; none have engaged in an in-depth analysis of her actual relationship with surrealism, however. This close reading of Abaporu will demonstrate that Amaral deliberately and systematically engaged with the tenets and formal languages of surrealism. Her engagement was not one of pure emulation; instead she turned the surrealists’ penchant for satire and desire to disrupt hierarchical schema back on itself, parodying the images and ideas put forth by the movement to create a counter modernism. Amaral’s sardonic appropriation of surrealism’s formal languages and subversive strategies was the very factor that made Abaporu the catalyst of the anthropophagite Movement. On 11 January 1928 the Brazilian artist Tarsila do Amaral presented a painting to her husband, the writer and intellectual Oswald de Andrade, for his birthday. Amaral described the painting, which Andrade would later entitle Abaporu (Fig. 1), or ‘person who eats,’ as: ‘a monstrous figure, with enormous feet planted on the Brazilian earth next to a cactus.’1 Scholars have long acknowledged Abaporu as a crucial work in Amaral’s career as well as an icon of early twentieth-century Latin American art. The painting marked the beginning of her anthropophagite phase, a period from about 1928 until 1930 during which Amaral departed from the densely packed compositions of urban São Paulo and the Brazilian countryside that characterized her Pau-Brazil period to paint scenes of one or two isolated figures in lush tropical dreamscapes.2 Despite the dream-like quality of these pictures, Amaral’s engagement with surrealism in Abaporu (and the other paintings of the period), while occasionally acknowledged, has not been fully interrogated. -
Exhibition Didactics
Taking Shape Abstraction from the Arab World, 1950s–1980s This exhibition explores mid-twentieth-century abstract art from North Africa, West Asia, and the Arab diaspora—a vast geographic expanse that encompasses diverse cultural, ethnic, linguistic, and religious backgrounds. Comprising nearly ninety works by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and the United Arab Emirates (UAE), the exhibition is drawn from the collection of the Barjeel Art Foundation based in Sharjah, UAE. The paintings, sculpture, drawings, and prints on view here reflect the wide range of nonfigurative art practices that flourished in the Arab world over the course of four decades. Decolonization, the rise and fall of Arab nationalisms, socialism, rapid industrialization, wars and mass migrations, and the oil boom transformed the region during this period. With rising opposition to Western political and military involvement, many artists adopted critical viewpoints, striving to make art relevant to their own locales. New opportunities for international travel and the advent of circulating exhibitions sparked cultural and educational exchanges that exposed artists to multiple modernisms—including various modes of abstraction—and led them to consider their roles within an international context. The artists featured in this exhibition—a varied group of Arab, Amazigh (Berber), Armenian, Circassian, Jewish, Persian, and Turkish descent—sought to localize and recontextualize existing twentieth-century modernisms, some forming groups to address urgent issues. Moving away from figuration, they mined the expressive capacities of line, color, and texture. Inspired by Arabic calligraphy, geometry, and mathematics, Islamic decorative patterns, and spiritual practices, they expanded abstraction’s vocabulary—thereby complicating its genealogies of origin and altering the viewer’s understanding of nonobjective art.