MEDIA MATERIALS THE ART SHOW

MARCH 4–8, 2015 The 27th Annual Art Show Park Avenue Armory At 67th Street,

TO BENEFIT Settlement

ORGANIZED BY Art Dealers Association of America

FOUNDED 1962 Lead Partner of The Art Show

THE ART SHOW ANNOUNCES 39 SOLO AND 33 THEMATIC PRESENTATIONS FOR THE FINE ART FAIR’S 27th EDITION

ORGANIZED BY THE ART DEALERS ASSOCIATION OF AMERICA (ADAA) TO BENEFIT

MARCH 4 – 8, 2015 GALA PREVIEW MARCH 3

The Art Show 2014 at the Park Avenue Armory, New York. Photo by Timothy Lee Photography

New York, December 16, 2014 —Gallery presentations at the 27th annual ADAA Art Show, the nation's longest running fine art fair, will feature thoughtfully curated solo, two-person, and thematic exhibitions by 72 of the nation’s leading art dealers. The Art Show takes place March 4 - 8, 2015 at the historic Park Avenue Armory, with a ticketed Gala Preview on Tuesday, March 3. All ticket proceeds from the gala and run of show benefit Henry Street Settlement, one of New York City’s most effective social services agencies. AXA Art Americas Corporation has returned for the fourth consecutive year as Lead Partner.

Solo Shows

One of the premier trademarks of The Art Show remains the emphasis on one- person presentations, and the 27th edition is no exception. Three galleries will present comprehensive surveys highlighting the work of women artists in their 90s— will honor the late painter Jane Freilicher, CRG Gallery will feature a selection of work and ephemera from the studio of Saloua Raouda Choucair, and Galerie Lelong will present Etel Adnan’s and accordion-fold books (leporellos). Site-specific installations debuting at The Art Show include Haim Steinbach’s arranged objects at Tanya Bonakdar Gallery and drawings by Wade Guyton inside custom-made vitrines at Petzel. Jan Groover’s first retrospective since her death will be on view at Janet Borden, Inc., with previously unseen triptychs from 1973. Other historical presentations include early works from the 1950s by Lee Mullican at Marc Selwyn Fine Art and sculptures by at Carl Solway Gallery.

Thematic Exhibitions

In addition to solo shows, The Art Show 2015 remains unparalleled with its installation of curated, thematic exhibitions. Peter Freeman, Inc. and Fraenkel Gallery will collaborate in a two-booth presentation titled Mirror/Mirror, examining self-portraiture by artists including Mel Bochner, Constantin Brancusi, Thomas Schütte, Diane Arbus, and Irving Penn. Layered Luminescence: Masterworks of Egg Tempera at ACA Galleries will feature paintings by Thomas Hart Benton, Paul Cadmus, Reginald Marsh, and Andrew Wyeth, among others. Maxwell Davidson Gallery’s The Responsive Eye at 50 will explore the historical and current imprint of Op-art with artists Victor Vasarely, Luis Tomasello, Pedro S. De Movellan, Mary Ann Unger, and others.

Solo and Two-Person Exhibitions

EXHIBITOR EXHIBITION TITLE 303 Gallery Maureen Gallace George Adams Gallery Joan Brown Alexander and Bonin Ree Morton Marianne Boesky Gallery “The Botanicals” by Donald Moffett Tanya Bonakdar Gallery Haim Steinbach Janet Borden, Inc. Jan Groover Bortolami Claudio Parmiggiani Cheim & Read Al Held James Cohan Gallery Michelle Grabner CRG Gallery Saloua Raouda Choucair Tibor de Nagy Gallery Jane Freilicher Ronald Feldman Fine Arts, Inc. Brodsky and Utkin Marian Goodman Gallery Tony Cragg Howard Greenberg Gallery Arnold Newman Sean Kelly Gallery Antony Gormley Anton Kern Gallery Marcel Odenbach Greg Kucera Gallery David Byrd Lehmann Maupin “I Fell in Love” by Tracey Emin Galerie Lelong Etel Adnan Dominique Lévy Gallery Tsuyoshi Maekawa Luhring Augustine Michelangelo Pistoletto Anthony Meier Fine Arts Sarah Cain David Nolan Gallery Christina Ramberg P-P-O-W Anton van Dalen Pace Gallery Jim Dine Petzel Wade Guyton Salon 94 Lorna Simpson Marc Selwyn Fine Art Lee Mullican Manny Silverman Gallery Sam Francis Fredric Snitzer Gallery Alice Aycock Carl Solway Gallery Nam June Paik Sperone Westwater Barry X Ball Allan Stone Projects John Graham Van de Weghe Fine Art Andy Warhol and Jean-Michel Basquiat Van Doren Waxter / Eleven Rivington Al Held and Michael DeLucia Susanne Vielmetter Los AngelesProjects Nicola Tyson and Elizabeth Neel Meredith Ward Fine Art John Marin Michael Werner Gianni Piacentino David Zwirner Forrest Bess

Thematic Exhibitions

EXHIBITOR EXHIBITION TITLE Layered Luminescence: Masterworks of Egg ACA Galleries Tempera Acquavella Galleries, Inc. Three Modern Schools: , London and New York Latin Americans Abroad in the Sixties: Adler & Conkright Fine Art Why Did They Go; Where Did They Go; Who Did They Meet and What Did They See? Defining Artists of Composition, Color, and Form: Brooke Alexander, Inc. Josef Albers, , Donald Judd, and Barnett Newman Chuck Close, Mark di Suvero, Donald Judd, Yayoi John Berggruen Gallery Kusama, Richard Serra, Joel Shapiro, Ed Ruscha, and others Hard-Edge Abstraction at Mid Century: Charles Valerie Carberry Gallery Biederman, José de Rivera, , , and Tony Smith James Abbott McNeill Whistler and Artists Thomas Colville Fine Art Influenced by Him The Story of American Sculpture in the 19th and 20th Conner -Rosenkranz LLC Century: Hiram Powers, Augustus Saint-Gaudens, Carl Akeley, Sidney Gordin, and others The Responsive Eye at 50: Op-art’s Imprint on the Maxwell Davidson Gallery Art World Surrealism, , and Pop Art: the Estate, Max Beckmann, Joseph Richard L. Feigen & Co. Cornell, Jean Dubuffet, Max Ernst, Roberto Matta, James Rosenquist, Ed Ruscha, and early works by Frank Stella Contemporaneous Paintings and Drawings by John Forum Gallery Graham, Arshile Gorky and Mirror / Mirror: A Collaboration with Peter Freeman, Fraenkel Gallery Inc. Presenting Only Self-Potraits Mirror / Mirror: A Collaboration with Fraenkel Peter Freeman, Inc. Gallery Presenting Only Self-Portraits German Expressionists: Max Beckmann, Otto Dix, Galerie St. Etienne George Grosz, Gustav Klimt, Käthe Kollwitz, Egon Schiele, and others

Works by Modern and Contemporary Masters: James Goodman Gallery Avery, Arp, Calder, Dubuffet, Miro, Matisse, Picasso, and others Hirschl & Adler Galleries Winold Reiss and Jazz Age : Winold Reiss with Romare Bearden, , and others Rhona Hoffman Gallery Works on Paper 1968 to the Present: Sol LeWitt, Fred Sandback, Spencer Finch, Hamish Fulton, and others

Paul Kasmin Gallery L'impasse Ronsin California Artists: Wallace Berman, Bruce Conner, Kohn Gallery Joe Goode, and Lita Albuquerque Two Ways of Looking Through Reality: George Barbara Krakow Gallery Segal, Sol LeWitt, Liliana Porter, and others

Spanning the Career of Fernand Léger and Artists Jeffrey H. Loria & Co., Inc. Influenced by Him , Fischli and Weiss, Robert Gober, Matthew Marks Gallery Ellsworth Kelly, Brice Marden, Charles Ray, and others 20th Century Mexican and Latin American Artists: Mary-Anne Martin/Fine Art Parisian Influences on Uncanny Geometries: Robert Mangold, Jan Dibbets, Barbara Mathes Gallery Peter Alexander, and Ron Davis Vija Celmins, Marcel Eichner, Philip Guston, Richard McKee Gallery Learoyd, and others Menconi + Schoelkopf Fine Art, Historical Survey of 10 Works of Early Modernism LLC from the Ashcan School to the New York School Mnuchin Gallery Abstraction Works Prior to 1975 Pace/MacGill Gallery Night Late Prints of 1930s-‘40s, Pablo Pace Prints & Pace Primitive Picasso 1930s-‘60s, and others Prints and Works on Paper by Postwar Artists: Kelly, Susan Sheehan Gallery Marden, Twombly, Diebenkorn, and others Red Hot and Blue: Ilya Bolotowsky, Ray Parker, Washburn Gallery , and others 50 Years + 50 Artists of Riva Yares Gallery: Milton Yares Art Projects Avery, Lee Krasner, , and others Object Lesson: Transformation of Commercially Pavel Zoubok Gallery Fabricated Objects in 13 Artists’ Sculptural Works

The Art Show 2015 List of Exhibiting Galleries 303 Gallery Lehmann Maupin ACA Galleries Galerie Lelong Acquavella Galleries, Inc. Dominique Lévy Gallery George Adams Gallery Jeffrey H. Loria & Co., Inc. Adler & Conkright Fine Art Luhring Augustine Alexander and Bonin Matthew Marks Gallery Brooke Alexander, Inc. Mary-Anne Martin | Fine Art John Berggruen Gallery Barbara Mathes Gallery Marianne Boesky Gallery McKee Gallery Tanya Bonakdar Gallery Anthony Meier Fine Arts Janet Borden, Inc. Menconi + Schoelkopf Fine Art LLC Bortolami Mnuchin Gallery Valerie Carberry Gallery David Nolan Gallery Cheim & Read P-P-O-W James Cohan Gallery Pace Gallery Thomas Colville Fine Art Pace/MacGill Gallery Conner-Rosenkranz LLC Pace Prints & Pace Primitive CRG Gallery Petzel Maxwell Davidson Gallery Salon 94 Tibor de Nagy Gallery Marc Selwyn Fine Art Richard L. Feigen & Co. Susan Sheehan Gallery Ronald Feldman Fine Arts, Inc. Manny Silverman Gallery Forum Gallery Fredric Snitzer Gallery Fraenkel Gallery Carl Solway Gallery Peter Freeman, Inc. Sperone Westwater Galerie St. Etienne Allan Stone Projects James Goodman Gallery Van de Weghe Fine Art Marian Goodman Gallery Van Doren Waxter/Eleven Rivington Howard Greenberg Gallery Susanne Vielmetter Los Angeles Hirschl & Adler Galleries Projects Rhona Hoffman Gallery Meredith Ward Fine Art Paul Kasmin Gallery Washburn Gallery Sean Kelly Gallery Michael Werner Anton Kern Gallery Yares Art Projects Kohn Gallery Pavel Zoubok Gallery Barbara Krakow Gallery David Zwirner Greg Kucera Gallery

Gala Benefit Preview

To inaugurate The Art Show 2015, a Gala Benefit Preview will be held on Tuesday, March 3 from 5:30 p.m. to 9:30 p.m. and will benefit Henry Street Settlement’s vital programs across 17 sites and in 25 New York City public schools. For advance ticket purchases or additional information, please call 212-766-9200 ext. 247/248.

Henry Street Settlement

Founded in 1893 by Progressive reformer Lillian Wald and based on ’s , Henry Street Settlement delivers a wide range of social services, healthcare and arts programs that improve the lives of more than 50,000 New Yorkers each year. Distinguished by a profound connection to its neighbors, a willingness to address new problems with swift and innovative solutions, and a strong record of accomplishment, Henry Street challenges the effects of urban poverty by helping families achieve better lives for themselves and their children. In 2015 Henry Street celebrates the centennial anniversary of the Playhouse at the Abrons Arts Center, its award-winning program for the visual and performing arts, arts training and artist residencies. www.henrystreet.org

Art Dealers Association of America

Founded in 1962, the Art Dealers Association of America (ADAA) is a non-profit membership organization of more than 180 of the nation’s leading galleries in the fine arts. www.artdealers.org

AXA Art Americas Corporation

International reach, unrivalled competence and a high quality network of expert partners distinguish AXA Art, the only art insurance specialist in the world, from its generalist property insurance competitors. Over the past 40 years and well into the future, AXA Art has and will continue to redefine the manner in which it serves and services its museum, gallery, collector and artist clients, across Asia, Americas and Europe, with a sincere consideration of the way valuable objects are insured and cultural patrimony is protected. For assistance, please contact Global Head of Public Relations, Rosalind Joseph by telephone: (718) 710-5181 or email: rjoseph@axa-art- usa.com www.axa-art-usa.com

Visitor Information

Turon Travel is the preferred US Travel Agency for The Art Show. Hotel reservations can be made through their web site at www.turontravel.com. For group travel arrangements, email [email protected] or call Turon at (800) 952-7646 for the best-negotiated hotel and air travel rates.

For further press information or visual materials, please contact:

Jenny Isakowitz Taylor Maatman FITZ & CO FITZ & CO T: (212) 627-1455 ext. 0923 T: (212) 627-1455 ext. 0926 E: [email protected] E: [email protected]

Paul Kasmin Gallery 303 Gallery Valerie Carberry P•P•O•W Meredith Ward Brooke Alexander, Inc. Janet Borden, Inc. Conner•Rosenkranz Susanne Vielmetter Ronald Feldman Gallery Fine Art LLC Los Angeles Fine Arts, Inc. Projects A5 A7 A9 A11 A13 A15 A17 A19 A21 A23 Pace/ MacGill Gallery

Anthony A25 Meier Fine Arts Marianne Boesky Gallery Maxwell Davidson Gallery Washburn Gallery Michael Werner ACA Galleries Yares Art Projects Coatcheck Pavel Zoubok Acquavella A3 A4 A6 A8 A10 A12 A14 Susan Gallery Galleries, Sheehan Inc. Mnuchin Gallery Salon 94 David Zwirner Barbara Mathes Gallery Forum Gallery Kohn Gallery Gallery A27 Sean Kelly A2 B3 B5 B7 B9 B11 B13 A16 Gallery Emergency Exit

A1 Tibor de Nagy Tanya Bonakdar Gallery Pace Prints & CRG Gallery James Goodman Gallery McKee Gallery Menconi + Schoelkopf Gallery Pace Primitive Fine Art, LLC Luhring B2 B4 B6 B8 B10 B12 Cheim & A28 Augustine Read Park Avenue Pace Gallery Fraenkel Gallery Sperone Westwater Barbara Krakow Gallery Hirschl & Adler Galleries Anton Kern Gallery Entrance Allan Stone B1 C3 C5 C7 C9 C11 C13 B14 Projects

D29 Jeffrey H. Loria & Co., Inc. Emergency Exit Petzel Peter Freeman, Inc. Dominique Lévy Gallery Galerie Lelong John Berggruen Gallery Mary-Anne Martin/ Fine Art

D2 Matthew C2 C4 C6 C8 C10 C12 Lehmann Marc Marks Maupin Selwyn Gallery Adler & Conkright James Cohan Gallery Richard L. Feigen & Co. Howard Greenberg Greg Kucera Gallery Rhona Hoffman Gallery Fine Art Marian Fine Art Gallery Goodman Gallery C1 D3 D5 D7 D9 D11 D13 C14 D28

D4 Van Doren Waxter/ Eleven Manny Silverman Van de Weghe Carl Solway Galerie Bortolami George Adams Thomas Colville David Nolan Fredric Snitzer Alexander Rivington Gallery Fine Art Gallery St. Etienne Gallery Fine Art Gallery Gallery and Bonin

D6 D8 D10 D12 D14 D16 D18 D20 D22 D24 D26

Solo Show Thematic Show THE ART SHOW THE ART SHOW 2015 HIGHLIGHTS: SOLO & DUAL SHOWS

303 GALLERY GEORGE ADAMS GALLERY Maureen Gallace Joan Brown: Paintings, Sculpture and Drawings For two decades, Maureen Gallace’s practice has from the early 1970’s taken up an exclusively regional subject matter as After a roughly six-year absence, Joan Brown (1938-1990) an exercise in the reconciliation between abstraction exhibited in a 1971 one-person show a series of large-scale and representation. In her paintings, the coastal autobiographical paintings at the San Francisco Museum of New England countryside is rendered with marks Art. No longer working in the virtuosic Bay Area Figurative at once expressive and concise, improvisational and style typified by David Park and her mentor Elmer Bischoff, economical. Seaside houses and beach shacks these paintings are broadly rendered yet closely scrutinized are reduced to and iconography, self-portraits as a young girl, a young mother, as a woman, while simultaneously capturing the emotional charge of locality and retreat. Her paintings and as a newly-wed. These paintings, rarely seen or exhibited propose a middle ground between the conceptual rigor of repetition and the as a group, marked Brown’s re-emergence as a lively artistic communicative potential of expressionism. Novelist Rick Moody has composed a wall force in the California Bay Area, a position she would text to accompany Maureen Gallace’s paintings. maintain until her untimely death at age 52. Maureen Gallace September 1st, 2014, oil on panel, 11 x 14 in. Joan Brown Christmas Time, 1971, oil enamel on masonite, 96 x 48 in.

ALEXANDER AND BONIN MARIANNE BOESKY GALLERY Ree Morton Donald Moffett: The Botanicals Ree Morton was born in Ossining, NY in 1936. A series of new shag monochrome She produced an extraordinarily rich and varied paintings – in the key of green but with the body of work that challenged the hegemony breadth of all flora. of . Creating mostly installation works and utilizing a wide variety of media from Ravaged and drilled. Plant sex abstracted to sculpture, she rejected the orthodoxies until all that remains is the raw ingredients of artistic convention and approached art as a of perfume. Of rose. Of cabbage. personal search for meaning and identity through questions, provocation, and play. Drawing was vital to Morton’s practice and Or better still, an indecent transposition was influenced by her interests in surrealist literature, plant-lore and non-pedigreed across biology, to musk. . Ree Morton Untitled (Woodgrain, Flower Parts),1974, crayon and colored pencil on printed paper, 19 x 25 in. Donald Moffett Lot 121514 (phthalo white), 2014, oil on linen with wood panel support, 19 x 19 x 2 in.

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TANYA BONAKDAR GALLERY JANET BORDEN, INC. Haim Steinbach Jan Groover Tanya Bonakdar Gallery is pleased to present a Jan Groover was the defining still life site-specific solo presentation by Haim Steinbach. photographer of her generation. Her Long admired as among the most important credo was “Formalism is everything,” artists of his generation, Steinbach explores the and her photographs remain a human process of collecting through placement testament to her vision. Beginning with of objects from a variety of contexts onto her groundbreaking triptychs, Groover shelving units, which range from handmade delighted in the intellectual and visual shelves to modular building systems. Steinbach conundrums her photographs was born in 1944 in Rehovot, Israel and has lived presented. Later work utilized the play in New York since 1957. Steinbach’s 2015 Art of light and color, form and plane in tabletop arrangements. Even on the street, she made Show exhibition will also celebrate the release of the mundane look impossible—layers of objects tumble through various planes—in a his newest catalog, published by Gregory R. Miller and Co. modern reinterpretation of the still life. Haim Steinbach Shelf with Kettle, 1981, imitation plastic wood shelf with driftwood, 1950’s chrome Kettle, 12 x 17 x 17 in. Jan Groover Untitled, 1988, chromogenic color print, 30 x 40 in. Edition 3/5.

BORTOLAMI CHEIM & READ Claudio Parmiggiani Al Held: Armatures 1953–1954 Bortolami presents a solo project with the Cheim & Read is pleased to announce an exhibition of eminent and iconoclastic Italian artist Claudio six large-scale paintings on paper by Al Held, dating from Parmiggiani, bringing together new and historical 1953–54, and shown for the first time in public in this works across a variety of media that exemplify exhibition. These paintings comprise a pivotal and Parmiggiani’s concerns with memory, absence, formative series in Held’s body of work, made when he fragmentation, solitude, silence and uncertainty. had freshly come back to New York from a three-year On the walls will be a series of newly created course of study in Paris. Held at this juncture was Delocazione, Italian for de-location, depicting the deeply engaged in processing and responding to the outline of windows defined by the residue of achievements of Abstract Expressionism, notably those smoke and soot. On shelves and pedestals will be of Pollock, de Kooning, and Rothko, and was, at age 25, a series of sculptural assemblages from the 70s taking the first sustained step in his journey to finding his consisting of antique plaster heads coupled with own distinct voice. books, butterflies and birds nests. Al Held Untitled, 1953, oil, gouache and pastel on paper mounted on canvas, Claudio Parmiggiani Il Sogno di Marcellino, 1977, boat model, 98 x 49 in. Courtesy the Al Held Foundation, Inc. plaster cast, books and rope, 43.31 x 17.72 x 11.02 in.

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JAMES COHAN GALLERY CRG GALLERY Michelle Grabner Saloua Raouda Choucair James Cohan Gallery presents a solo painting Saloua Raouda Choucair, born in exhibition by Michelle Grabner, featuring works 1916, is a pioneer of abstraction in the that transform familiar patterns from domestic Middle East. In 1948 she left Lebanon life into delicate abstractions. Michelle Grabner for Paris to study, and attended works across a variety of media, including Fernand Léger’s studio. She was one drawing, painting, video and sculpture. She is of the first Arab artists to participate most widely known for her abstract metal point in the Salon des Réalités Nouvelles. works and her paintings of textile patterns Her work reflects her interest in appropriated from everyday domestic fabric. As science, mathematics, Islamic art and David Norr writes in the introduction to her Western modernism. She has created her own striking visual language in paintings, 2013 solo exhibition at MoCA Cleveland, I Work From Home, “All of Grabner’s activities sculptures and other objects. Through her experimental approach to material, she are driven by distinctive values and ideas: working outside of dominant systems, working explores the logic of formal themes and her interest in Sufi poetry and art. tirelessly, working across platforms and towards community.” Saloua Raouda Choucair Composition in Yellow, 1962-65, oil on panel, 20 ¼ x 32 x 1 in. Michelle Grabner Untitled, 1999, flock on canvas, 36 x 36 in. ©Michelle Grabner.

TIBOR DE NAGY GALLERY RONALD FELDMAN FINE ARTS, INC. Jane Freilicher Brodsky & Utkin: Sculpture & Etchings “Freilicher’s paintings gradually summon fugitive Ronald Feldman Fine Arts exhibits works from emotions that are beyond words.” 1990 by the Russian collaborative team, - Peter Schjeldahl. Brodsky & Utkin. Sculptures of bottle-shaped Tibor de Nagy Gallery presents a survey of forms and heads with strange iconography works by Jane Freilicher (1924–2014), who died dominate the space. On the walls, etchings on December 9. The carefully curated exhibition based on drawings, which won numerous includes rarely-exhibited paintings and works on international paper architectural competitions, paper, which represent more than sixty years. It depict fantastical visions that merge classical, comprises some of her most celebrated subjects, romantic, and modernist imagery. The including evocative cityscapes of Greenwich exhibition revisits that historic era when Soviet Village, often with still-lifes in the foreground, and sparkling Long Island landscapes done artists could first exhibit in the West. The from her studios in New York City and Water Mill. Freilicher came of age in the era of etchings are in the collections of The Museum Abstract Expressionism and was at the center of a circle of New York painters and poets. of Modern Art, Tate Modern, and The Jane Freilicher Poppies and Peonies, 1981, oil on linen, 36 x 36 in. Whitney Museum. Brodsky & Utkin Untitled Bust (Head with Tower), painted paster. Photo by D. James Dee.

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MARIAN GOODMAN GALLERY HOWARD GREENBERG GALLERY Tony Cragg Arnold Newman Marian Goodman Gallery presents new sculpture Howard Greenberg exhibits the known and by Tony Cragg, featuring works in bronze, stainless unknown of Arnold Newman. Newman has steel and wood. Tony Cragg is one of the most been credited as pioneering what has come to be distinguished contemporary sculptors working known as “the environmental portrait.” By today. His work has developed within the context carefully controlling the surroundings in which of diverse influences, ranging from his experience he shot his portraits, he conveyed a broad sweep as a laboratory technician to his engagement with of information about his subjects. Some of these English landscape art and Minimalist sculpture. are well known—the portraits of Igor Stravinsky, Through his dynamic and investigative approach Picasso and Mondrian— have become photographic icons. But many are not. And to materials and objects in the physical world, amongst those that are not known are portraits of famous artists, writers, musicians and Cragg has broadened the boundaries of sculpture other cultural figures that are beautiful, compelling and truly revelatory. 3 as a medium and brought continuous innovation Arnold Newman Marcel Duchamp, 1942, early gelatin silver print, 5 ⁄8 x 6 ½ in. ©the Estate of Arnold Newman. to the language of sculpture. Tony Cragg Pool, 2012, bronze, 70 x 52 x 5 cm. Photo by Charles Duprat.

SEAN KELLY GALLERY ANTON KERN GALLERY Antony Gormley Marcel Odenbach Sean Kelly is pleased to present a solo exhibition Anton Kern Gallery is pleased to present of six new sculptures and related drawings by the works on paper by German artist Marcel preeminent British artist, Antony Gormley. The Odenbach. While primarily known as a work is from Gormley’s ongoing Small Block- pioneer of video art, Odenbach has been works series, begun in 2013. As Gormley wrote, creating collages for over 30 years. The “the Blockworks series makes physical centerpiece of our presentation is a pixelisations of the human form with a rising monumental-size collage depicting canon of four blocks, each eight times the volume of the one before, the articulation of Tiananmen Square on the day before the which creates a dynamic between space and mass that permeates and defines the body.” opening of the 2008 Beijing Olympics. Viewed at a distance the work depicts an 5 11 Antony Gormley Small Screen III, 2013, cast iron, 36 ⁄8 x 8 ⁄16 x 14 in. ©Antony Gormley. Photo by Stephen White, London immaculate and serene public square set up as a flower market. Upon closer inspection, the image breaks apart into hundreds of images relating to the 1989 Tiananmen Square Massacre and issues of freedom of expression. 1 1 Marcel Odenbach 08.08.08 (China Collage) (detail), 2008, collage on paper, 77 ⁄8 x 106 ⁄4 in. ©Marcel Odenbach.

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GREG KUCERA GALLERY LEHMANN MAUPIN David Byrd Tracey Emin: I Fell in Love David Byrd (1926-2013) made paintings and Lehmann Maupin features work by sculptures in rural NY for the last 65 years of his renowned British artist Tracey Emin. The life. He never showed his art works professionally booth is centered on a new bronze until 2013, in the last month of his life, at Greg sculpture The Heart Has Its Reasons (2014). Kucera Gallery in Seattle. Byrd trained in NYC Alongside this work, we display significant with Amédée Ozenfant from 1949-51. He was an examples of Emin’s paintings that orderly at the Veteran’s Administration Hospital in illustrate “limerence,” the state of Montrose NY for thirty years, retiring in 1985 to unattainable love. The title of the devote himself to painting the landscape around his work and home, as well as the sculpture The Heart has its Reasons is from harrowing conditions for patients under his care in the psychiatric ward. This one-person Blaise Pascal who said, “The heart has its reasons which reason knows nothing of... We survey exhibition of his work is the first time his work has been shown in New York City. know the truth not only by the reason, but by the heart.” David Byrd Hospital Hallway (257), 1992, oil on canvas, 43 x 52 in. Tracey Emin The Heart Has Its Reasons, 2014, patinated bronze with American black walnut plinth, 15.98 x 29.49 x 16.5 in. (sculpture), 48.27 x 38.5 x 25.98 in. (plinth). Edition of 6. ©Tracey Emin. Photo by White Cube.

GALERIE LELONG DOMINIQUE LÉVY GALLERY Etel Adnan Tsuyoshi Maekawa Galerie Lelong presents a solo booth of works Dominique Lévy Gallery is pleased to present a by the Lebanese-born artist and writer Etel solo exhibition of works by the Japanese artist and Adnan. In her continuing series of landscape Gutai member Tsuyoshi Maekawa. Maekawa joined paintings of Mount Tamalpais (Marin County, the Gutai Art Association in 1962, after three years CA), Adnan explores the intellectual, emotional, of intimate study with its founder, Jiro Yoshihara. and physical challenges of exile and the In November 1963, a solo exhibition of Maekawa’s intangibility of the concept of “home.” Her works was held at the Gutai Pinacotheca in vibrant, expressive paintings demonstrate Nakanoshima, Osaka, the group’s headquarters and Adnan’s commitment to communication beyond the confines of the written or spoken exhibition space, which had opened the year word, and her use of color, shape, gesture, and perception help to create the landscapes before. Featuring primarily paintings from 1963 for which she is well known. Also on view are Adnan’s accordion-fold books (leporellos) and a few large works from 1964, Dominique Lévy that fuse her visual and linguistic prowess, promoting a harmonic synthesis of written Gallery seeks to recreate the experience of this texts and painted or drawn images. original solo show. 3 1 Etel Adnan Untitled, 2014, oil on canvas, 9.65 x 11.42 in. ©Etel Adnan. Tsuyoshi Maekawa Shiro No Nogare, 1963, mixed media on canvas, 62 ⁄8 x 51 ⁄3 in. Courtesy Tsuyoshi Maekawa.

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LUHRING AUGUSTINE ANTHONY MEIER Michelangelo Pistoletto FINE ARTS Luhring Augustine is pleased to present a Sarah Cain solo exhibition of mirror paintings by the Anthony Meier Fine Italian artist Michelangelo Pistoletto. Arts is pleased to Comprised of photo-silkscreened images present an exhibition on mirror-polished stainless steel, these of small works on signature works were developed in 1962 paper by Sarah Cain. A series of 150 drawings on one-dollar bills, the presentation and represent a crucial and ongoing facet of the artist’s practice. By adhering an image highlights Cain’s expertise navigating abstract geometric experimentation in a range onto a reflective surface, Pistoletto enables a dynamic interaction between the work of of materials. Investigating color, line, collage and dimensionality on a confined scale, art and the viewer. The silkscreened image remains a fixed marker of the past, but the Cain maintains the identity of the bills with small moments of negative space, exposing constantly changing spectator animates each painting and places it in the present their identity. 1 3 1 moment. Likewise, the pictorial space of the painting is extended to include the physical Sarah Cain group ten, 2015, mixed media on dollar bills, set of 5: 10 ⁄2 x 6 ⁄4 in. (each), 10 ⁄2 x 37 ¾ in. (all). context of the work, thus combining art with its environment. Michelangelo Pistoletto Cordoni, 2014, silkscreen on polished super mirror stainless steel,

3 13 4 elements: 98 ⁄8 x 196 ⁄16 in. (each).

DAVID NOLAN GALLERY P•P•O•W Christina Ramberg Anton van Dalen David Nolan Gallery presents a solo P•P•O•W presents a solo booth of presentation of Kentucky-born, Chicagobased historical mono-chromatic nightscapes, artist, Christina Ramberg (1946-1995). Ramberg shadow boxes and cut-outs from was loosely associated with the Chicago 1975-1983 by Anton van Dalen, a Imagists, a group that included Jim Nutt, Gladys Dutch-born artist who has lived in the Nilsson and Ed Paschke. Ramberg is best known East Village since 1972. The drawings for her depictions of corseted female bodies – are executed with a clear graphic forced into submission by the bondage-like vocabulary and style that present his accoutrements of typical 1950s female garments. long-standing aesthetic and social Recalling a memory of her mother getting concerns for the subjects of nature, dressed, Ramberg remembered being “stunned home, street, and memory. Exhibited alongside are hand-made dioramas from the artist’s by how it transformed her body, how it pushed “Avenue A Cut-Out Theater” a traveling performance van Dalen created in 1980. up her breasts and slenderized down her waist.” Anton van Dalen The Shooting Gallery, 1982, graphite on paper, 23 x 29 in. Courtesy Anton van Dalen. Christina Ramberg Probed Cinch, 1971, acrylic on masonite,

12 x 12 in. ©Cristina Ramberg. { 6 } THETHE ARTART SHOWSHOW THE ART SHOW 2015 HIGHLIGHTS: SOLO & DUAL SHOWS

PACE GALLERY PETZEL Jim Dine Wade Guyton Continuing its fifteen-year tradition of dedicating Zeichnungen für lange its ADAA booth to one artist, Pace is pleased to Bilder is a work present Jim Dine’s botanical drawings. Since consisting of 146 producing drawings and etchings of flowers in drawings displayed in the 1970s, Dine has consistently returned to up to fifteen vitrines botanicals as a subject matter in his drawings, lined with yellow vinyl prints, and ceramics. His most recently botanical tiles. Shown first at the Kunsthalle Zürich utilizing all fifteen vitrines, in this iteration drawings, executed in 2014 in charcoal pastel and the work will be compressed to accommodate the space at The Art Show. The drawings watercolor on paper, will be the focus of Pace’s bear marks drawn in Microsoft Word, webpages of , Swiss airlines, presentation. Dine casts a retrospective eye in a wiki related to Game of Thrones, a Tumblr on which the artist found a posting of one these works, depicting flora and locations based of his fire paintings, among other motifs. on memories from his past and highlighting the Wade Guyton Untitled, 2013, Epson DURABrite inkjet on book pages in linoleum-lined vitrine, temporal nature of plant life. 36.65 x 134.41 x 32.44 in. Courtesy Wade Guyton. Jim Dine Dying Thistle, 2012, charcoal, pastel, and watercolor on paper, 49 x 40 ½ in. © 2015 Jim Dine/Artists Rights Society (ARS), New York. Photo by Kerry Ryan McFate/Pace Gallery.

SALON 94 MARC SELWYN FINE ART Lorna Simpson Lee Mullican Lorna Simpson represents a generation of artists whose Marc Selwyn Fine Art is pleased to present Lee Mullican’s work explores issues of sex, race and identity. Her drawings and paintings from the 1950s. Mullican was one sequential photograph and text pieces, large-scale of three founders of the Dynaton Group, which served as serigraphs on felt, videos, photo-booths and drawings a link between Surrealism in Europe and Abstract offer compelling investigations into how sex and race are Expressionism in America. Mullican’s drawings were culturally and historically constructed. Following the central in his practice and directly linked to the surrealist success of her recent traveling retrospective which began abstraction and signature linear imagery in his paintings. in 2013 at the Jeu de Paume in Paris, and traveled to the Often composed of vertical staccato pencil marks, these Haus der Kunst in Munich, 2013-14; The Baltic in drawings can be both elegant minimalist compositions and Gateshead, UK, 2014 and more recently at the Addison twisting dream-like patterns. Mullican’s drawings are Gallery in Andover, MA, we would like to present several juxtaposed with three late 1950s paintings whose signature works which challenge and confront conventional views of gender, identity, culture and palette knife technique relates directly to his works on paper. history, with hair as the visual point of departure. Lee Mullican Transitory Landscape, 1950, ink and charcoal on paper, 30 x 22 in. Courtesy the Estate of Lee Mullican. Lorna Simpson Going Grey, 2013, collage, ink on paper, 29 ½ x 21 ¾ in. Photo by Robert Wedemeyer.

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MANNY SILVERMAN GALLERY FREDRIC SNITZER GALLERY Sam Francis Alice Aycock In 1986, at the encouragement and promise of an Fredric Snitzer Gallery features Alice exhibition by his good friend, Sam Francis, Manny Aycock and exhibits her new works Silverman quit his day job and set out to open an art which consist of two new sculptures. gallery. The following year, on famed La Cienega One is a wall piece the other a free Boulevard in Los Angeles, Manny Silverman Gallery standing pedestal piece. The third opened its doors on October 24 with the exhibition, sculpture is a maquette of “Hoop-La” Sam Francis, 1959-1964. A catalogue with texts by one of the sculptures Alice installed on Robert Shapazian and Pontus Hulten accompanied Park Avenue this last Spring. Also we the exhibition. Since 1987, Manny Silverman has are featuring two works on paper that mounted five exhibitions of Francis’ work and are representative of her new language in both drawings and sculpture. collaborated on countless others. The selection of Alice Aycock From the Series Entitled, “Sum Over Histories”: Study for a Timescape, 2011, watercolor on paper, Francis’ works exhibited at The Art Show is pre- 50 x 72 in. Courtesy Galerie Thomas Schulte. sented with respect for the artist’s contribution to American abstract painting and commemorates twenty years since Sam Francis’ death. 7 Sam Francis Untitled, 1958-59, watercolor on paper, 14¼ x 8 ⁄8 in.

CARL SOLWAY GALLERY SPERONE WESTWATER Nam June Paik Barry X Ball Carl Solway Gallery presents a one-person Sperone Westwater presents a one-man exhibition exhibition with rare historical works by Nam by the contemporary American artist, Barry X Ball. June Paik. The exhibition includes a group of Employing both traditional and advanced smaller-scaled video-active sculptures; never processes, Barry X Ball approaches figurative before seen photo collages made as preliminary sculpture from a contemporary perspective suffused design studies for “robot” sculptures; with historical reverence. For his sculptures, Ball rare photographs, signed by the artist, of early uses extensive digital modeling of data collected performance pieces; and a few never previously from live subjects or physical objects, which are seen drawings and assemblages. milled by sophisticated computernumerically-con- trolled machines in marble and onyx, and then Nam June Paik Internet Dweller: jshmha.one.whkbrb, 1994, two painstakingly hand finished. 13” color TVs, one 10” color TV, three antique TV cabinets, Barry X Ball Envy, 2008-13, sculpture: Mexican Onyx, stainless steel, floodlamp, neon, clock, fabric, gold leaf, one channel original Paik pedestal: Macedonian Marble, stainless steel, wood, acrylic lacquer, video on DVD, 59 x 56 x 31 in. steel, nylon, plastic, 68 x 17 ¼ x 12 in. Courtesy Barry X Ball.

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ALLAN STONE PROJECTS VAN DE WEGHE FINE ART John Graham Jean-Michel Basquiat & Andy Warhol Allan Stone Projects is pleased to present a survey of Andy Warhol and Jean-Michel Basquiat’s paintings and drawings by the pivotal 20th Century relationship was nothing if not symbiotic, artist, John Graham. Graham was influential in Andy gaining youthful energy from Basquiat’s redirecting American art history, utilizing Picasso- street art and Basquiat gaining a following from influenced , alchemical references that Warhol’s already large circle of friends and integrated classical sensibilities, mythic self-images followers. The friendship of Andy Warhol and and obsessive female portraits unique in modern art. Jean-Michel Basquiat also brought a large body Although Graham never taught formally, his progressive of diverse and antithetical paintings that they ideas on Primitivism, Picasso, Jung’s theory of the worked on together. Through portraits and collaborations, Van de Weghe Fine Art is Collective Unconscious, Symbolism, alchemy and exhibiting examples of their work and lives, both apart and together. mysticism made him a formidable instructor. Along Jean-Michel Basquiat & Andy Warhol Untitled (50 - Dentures), 1984, acrylic and silkscreen ink on canvas, 114 x 176 in. with his experience as an art connoisseur, collector and dealer, he became an essential guide for the emerging artists of the New York School from the late 1920s onward. John Graham Sophie, 1943, oil on canvas, 24 x 20 in.

VAN DOREN WAXTER / SUSANNE VIELMETTER LOS ANGELES ELEVEN RIVINGTON PROJECTS Al Held and Michael DeLucia Nicola Tyson and Elizabeth Neel Van Doren Waxter / Eleven Rivington Susanne Vielmetter Los Angeles Projects juxtaposes presents works on paper by Al Held works by Nicola Tyson and by Elizabeth Neel, two (1928-2005) and large scale panels by artists from different generations and perspectives with Michael DeLucia (b. 1978). While each artist a shared concern: representing moments of friction has his own methods, the side-by-side between the self and its psychological environment. exhibition draws on a conceptual sympathy While the artists are invested in opposing painting in each artist’s exploration of spatial traditions – Tyson, the figurative; Neel, the abstract – conundrums. Presenting Held and DeLucia in a shared booth brings together the works they nevertheless share a feminist point-of-view, of two artists who both explore the representation of that which cannot be seen, conflating those poles within the medium through conceiving of perspectives and vantage points that are illusive through the manipulation androgynous painterly acts. of basic geometric objects within created and often converging planes. Elizabeth Neel The Female, 2014, acrylic on canvas, 95 x 78 in. Courtesy Elizabeth Neel. Photo by Adam Reich. Al Held A 15/16, 1972, marker on paper, 24 x 41 in.

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MEREDITH WARD FINE ART MICHAEL WERNER John Marin, Alfred Stieglitz, and the Emergence of Gianni Piacentino the American Avant-Garde Michael Werner Gallery is pleased to Meredith Ward Fine Art presents a one-person present a selection of works by exhibition of oils and watercolors by the Gianni Piacentino. Gianni Piacentino American modernist John Marin (1870-1953), was one of the founding members of which will chart the development of modernism Arte Povera, a movement he from his groundbreaking works of the 1910s to abandoned early to pursue his own his signature style of the 1920s-40s. The core of individual and maverick path. the show is a group of watercolors from the Piacentino’s early minimal sculptures John Marin estate that were originally owned by transformed themselves into new his dealer Alfred Stieglitz, and retain Stieglitz’s distinctive “AS” collection stamp. shapes that celebrate the idea of Together—Marin as an artist, Stieglitz as an impresario—the two men played essential dynamism and speed, recalling the vehicles that inspired his projects—motorcycles, roles in advancing modernism in America in the early 20th century. monocycles, automobiles, and planes. Erasing distinctions between individuality and John Marin West Point, Main I, 1914, watercolor on paper, 14¼ x 16 in. standardization; painting versus sculpture; and everyday objects versus art objects, these boundless objects are distillations of Piacentino’s lifelong disruption of the status quo. Gianni Piacentino Stereo, 1965, acrylic on canvas, 51 ¼ x 94 ½ in. DAVID ZWIRNER Forrest Bess David Zwirner is pleased to present an exhibition of significant paintings by the self-taught American artist Forrest Bess (1911-1977). The installation comprises a cohesive grouping of over ten important works on canvas spanning the years 1952 to 1967. Eschewing direct representation in favor of abstraction, the paintings evoke miniature constellations, enigmatic landscapes, or spare, geometric forms that were intended by the artist to convey “something seen otherwise than by ordinary sight.” Forrest Bess A Star, 1967, oil on canvas, 10 ¼ x 12 ¼ in. ©Forrest Bess.

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ACA GALLERIES ACQUAVELLA GALLERIES, INC. Layered Luminescence: Three Modern Schools: Masterworks of Egg Tempera Paris, London and New York ACA Galleries, established in 1932 has long been Acquavella Galleries will present a a champion for American realism. This range of Impressionist, modern and exhibition brings together the finest practitioners contemporary masters consistent with of the age-old medium of tempera and the gallery’s dealings. Within this demonstrates the ways these artists have used selection, there will be a focus on School this traditional media to express modern of Paris painters – among them Picasso, subjects, ideas and concepts. Rarely seen Bonnard, and Matisse. 5 3 paintings from private collections will be on Le peintre et son modèle dans un paysage, 1963, oil on canvas, 25 ⁄8 x 39 ⁄8 in. © 2015 the Estate of display by important American artists such as Pablo Picasso/Artists Rights Society (ARS), New York. Ivan Albright, Isabel Bishop, Paul Cadmus, Jacob Lawrence, Reginald Marsh and George Tooker, among others. George Tooker Pot of Aloes, 1974, egg tempera, 23 ½ x 12 ½ in.

ADLER & CONKRIGHT FINE ART BROOKE ALEXANDER, INC Latin Americans Abroad in the Sixties: Defining Artists of Composition, Why Did They Go; Where Did They Go; Color, and Form and What Did They See Brooke Alexander presents work The term “Latin American Art” is a geographical by several defining artists of blanket covering many disparate movements composition, color and form, from many different places and times. The most including Josef Albers, Donald transnational in the middle years of the 20th Judd, Ellsworth Kelly, Sol LeWitt, Barnett Newman and Ken Price. Throughout each of century were Geometric Abstraction/Kinetic Art their long and distinguished careers, these artists have worked in diverse mediums and and Conceptualism. Adler & Conkright Fine Art materials to present their signature visual ideas. Our exhibition offers examples of their examines the work of these artists. The stand paintings, works on paper, prints and sculpture. reflects early exhibitions of Galeria Conkright, Ellsworth Kelly Marlarme Suite, 1992, four color lithographs. Edition of 40. founded in Caracas in 1966, which showed the works of these Latin American artists, at that time, virtually unknown in their own countries. Lygia Clark Bicho/Pan-Cubismo Pq (Version II), conceived 1960, realized 1963, aluminum, 11 ¾ x 11 ¾ in. (flat), dimensions are variable.

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JOHN BERGGRUEN GALLERY VALERIE CARBERRY GALLERY Selected Works: di Suvero, Diebenkorn, Hard-Edge Abstraction at Mid Century Kandinsky, Kelly, Mehretu, Oliveira, Serra, Valerie Carberry Gallery is exhibiting “Hard Shapiro and Thiebaud Edge Abstraction at Mid Century”. Featured John Berggruen Gallery presents a variety of artists include José de Rivera, Burgoyne Diller, significant twentieth-century paintings and John McLaughlin, Leon Polk Smith and sculpture including quintessential examples Tony Smith. While typically used to describe by Richard Diebenkorn and Wayne Thiebaud. a style of painting from the 1940s-60s, the The exhibition highlights an important painting term “hard-edge” can also apply to work from 1930 by Wassily Kandinsky. in three dimensions. The gallery exhibits a Wassily Kandinsky Great-Little, 1930, oil on board, 14 ½ x 19 ¼ in. remarkable suite of three painted aluminum sculptures by José de Rivera that express their own economy of form and use of color as field. Similarly, painted constructions by Leon Polk Smith bring depth and added dimension to the elegant curve of his work on canvas. José de Rivera Untitled (Yellow and Black), 1940, painted aluminum, 8 in.

THOMAS COLVILLE FINE ART CONNER•ROSENKRANZ LLC James Abbott McNeill Whistler The Story of American Sculpture in the and Artists Influenced by Him 19th and 20th Century Thomas Colville Fine Art showcases the work Conner•Rosenkranz will exhibit American sculpture of James Abbott McNeill Whistler along with created in various materials between 1850 and 1950. those of subsequent generations of American The leading American Neo-Classical sculptor in Italy and European artists whose style he influenced. of the 19th century, Hiram Powers, is represented by a We currently have seven original works by bust of Proserpine, 1848-49; one of only six examples. Whistler, which we believe is more than any other gallery today. We are exhibiting specific Americans of the next generation chose Paris over works that owe stylistic debt to Whistler, including artists such as Dennis Miller Bunker, and bronze over marble. Augustus Saint-Gaudens, the Frank Duveneck, Giorgio Morandi, and John Henry Twachtman. most famous sculptor from the period, is represented by James Abbot McNeill Wistler Women and Children outside a Brittany Shop, c. 1888, watercolor on linen, 5 x 8 ½in. the iconic Head of Victory, 1907 from The Sherman Monument in Central Park. Carl Akeley, famous for his group of walking elephants – centerpiece of Akeley Hall of African Mammals at the American Museum of Natural History in New York – is also represented by a related bronze group, Charging Herd, 1915. Hiram Powers Proserpine, 1848-49, marble, 20 ½ x 16 ½ x 9 ¼ in.

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MAXWELL DAVIDSON GALLERY RICHARD L. FEIGEN & CO. The Responsive Eye at 50: Op-art’s Surrealism, Abstract Expressionism, and Pop Art Imprint on the Art World Richard L. Feigen & Co. is exhibiting carefully In February 1965, The curated paintings, drawings and collages by surrealist, mounted an exhibition titled The Responsive Eye, abstract expressionist and pop artists. The booth will comprised of works by nearly 100 artists from feature important works by Max Beckmann, Joseph around the world who were experimenting with Cornell, John Dubuffet, Max Ernst, James Rosen- Op-art. To commemorate this landmark exhibi- quist, Ed Ruscha and Frank Stella, in addition to a tion, Maxwell Davidson Gallery presents The unique group of works by Ray Johnson, represented Responsive Eye at 50, with works by historical artists exclusively by Richard L. Feigen & Co. featured in the 1965 MoMA show, such as Victor Joseph Cornell Untitled (L’Abeille), c. 1965, gouache and colored pencil Vasarely, Carlos Cruz-Diez, Bridget Riley, Yaacov on paper collage mounted on masonite, 12 x 9 in. Agam, and Luis Tomasello. We also show work by artists influenced by the Op-art movement including Pedro S. De Movellan, Mary Ann Unger, Sanford Wurmfeld, Kevin Osmond, Ghost of a Dream, and Sam Messenger. Victor Vasarely Méandres-Naissances, 1953, acrylic on canvas, 37 ¼ x61 in. Signed Max Weber (lower right).

FORUM GALLERY FRAENKEL GALLERY Contemporaneous Paintings and Mirror / Mirror: A Collaboration Drawings by John Graham, with Peter Freeman, Inc. Arshile Gorky and Willem de Kooning Presenting Only Self-Potraits Between 1925 and 1945, a group of Mirror / Mirror will present two stands American artists, including Stuart Davis, directly opposite and facing each other, Willem de Kooning, Arshile Gorky and configured in exactly the same manner. John Graham sought to create new and Each stand will be comprised solely of inherently American imagery using the self-portraits. Fraenkel Gallery, objects of everyday life as a foundation. with emphasis on the history of Believing that depiction was best left to the photography, will highlight self-portraits photographic process then developing exponentially, these artists drew and painted bold, by Diane Arbus, Richard Avedon, Lee Friedlander, Adam Fuss, Nan Goldin, Peter Hujar, modern fantasies that give understanding to the otherwise commonplace. Ralph Eugene Meatyard, Eadweard Muybridge, and Hiroshi Sugimoto among others. Directly Willem de Kooning Untitled (Still Life with Eggs and Potato Masher), 1928-29, oil and sand on canvas, 18 x 24 in. opposite, Peter Freeman, Inc. will exhibit both historical and contemporary self-portraits by ©the Estate of Willem de Kooning. artists including Mel Bochner, Alighiero Boetti, James Ensor, Robert Filliou, Alex Hay, Meret Oppenheim, Catherine Murphy, and Thomas Schütte. Lee Friedlander New Orleans, 1970. ©Lee Friedlander.

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PETER FREEMAN, INC. GALERIE ST. ETIENNE Mirror / Mirror: A Collaboration Alternate Histories: Celebrating the 75th with Fraenkel Gallery Anniversary of the Galerie St. Etienne Presenting Only Self-Portraits The Galerie St. Etienne, which opened in November Mirror / Mirror will be presented jointly in two 1939, is celebrating its 75th anniversary at with a stands, positioned directly opposite and facing special installation highlighting some of the gallery’s each other, configured in parallel manners. Each key artists. Included are major works by Otto Dix, will be comprised solely of self-portraits, both Gustav Klimt, Oskar Kokoschka, Egon Schiele, Anna historical and contemporary and in a variety of Mary Robertson (“Grandma”) Moses and mediums by artists including Diane Arbus, others. Figural, folk, humanistic —St. Etienne’s artists Richard Avedon, Mel Bochner, Alighiero e Boetti, challenged the formalist narratives that dominated Constantin Brancusi, James Ensor, Robert postwar America. Their work suggests alternate Fillliou, Alex Hay, Ralph Eugene Meatyard, views of art history, more in keeping with the Catherine Murphy, Meret Oppenheim, Thomas multivalent environment of the twenty-first century. Schütte, and Hiroshi Sugimoto. Peter Freeman, Inc. and Fraenkel Gallery anticipate Egon Scheile Reclining Girl on Pillow, 1910, gouache, watercolor and 1 publishing an illustrated booklet of this collaboration.. pencil with white heightening on paper, 18 ⁄8 x 11 ¾ in. Mel Bochner Self / Portrait, 2013, oil on canvas, 48 x 36 ¼ in.

JAMES GOODMAN GALLERY HIRSCHL & ADLER GALLERIES Works by Modern and Contemporary Masters Winold Reiss and Jazz Age Modernism James Goodman Gallery presents a group show German-born artist Winold Reiss’s (1886–1953) Jazz of paintings, sculptures and works on paper Age work is the foundation of the Hirschl & Adler by Modern and Contemporary Masters. The booth, and is accompanied by other paintings, exhibition encompasses significant movements drawings, sculpture, and prints from such iconic including American Abstraction, European American Modernists as Romare Bearden, Stuart Modernism, and Abstract Expressionism with Davis, Hunt Diederich, Marsden Hartley, William some meaningful Contemporary works. Henry Johnson, Paul Kelpe, Louis Lozowick, Paul Featured works by Avery, Arp, Calder, Dubuffet, Manship, John Marin, and Henry Fitch Taylor. Miro, Matisse, Picasso and others. This selection Together, the work offers compelling illustrations of echoes the 57-year history of the James Goodman Gallery with a sampling of the major jazz-induced rhythms, Deco-inspired streamlining, works the gallery has exhibited since its inception. and Machine Age abstraction that permeated Arshile Gorkey Untitled, c. 1944-45, pencil and crayon on paper, 17 ½ x 23 ¼ in. American art and popular culture in the decades between the World Wars. 7 7 Winold Reiss Interpretation of Harlem Jazz I, 1925, ink on paper, 19 ⁄8 x 14 ⁄8 in.

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RHONA HOFFMAN GALLERY PAUL KASMIN GALLERY Works on Paper 1968 to the Present L'impasse Ronsin Rhona Hoffman Gallery is pleased to present an "Ronsin…that most distinguished site of exhibition focused solely on works on paper from Modernism." - John Russell 1968 to the present. Drawings by historical artists Sol The Impasse Ronsin, behind Montparnasse, was a crucible LeWitt and Fred Sandback demonstrate the medium’s of postwar culture, a tight band of international artists who potential as a platform for working out concepts and during the 1950s shared this ramshackle hamlet of studios; ideas to be realized in other media and on a greater Brâncusi, resident since 1916, Max Ernst, Claude and scale. Works on paper by artists such as Spencer Finch, François-Xavier Lalanne, Niki de Saint Phalle, Tinguely, Hamish Fulton, and Vito Acconci illustrate the medium’s capacity to preserve the memory of and the patron saint William Copley. Artists occupied the a performative action (Fulton and Acconci) or the results of the investigation on the nature Impasse since the 1870s – an academic painter even being of light (Finch). Works by Nancy Spero, David Schutter, Susan Hefuna, and others reveal murdered here - but now was its hour of glory, forging not drawing’s position as a sincere complement to sculpture and painting practices. a style but a certain touch; poetry, invention, a wit the very enemy of pomposity, some Fred Sandback Untitled, 1989, pastel and crayon on light blue paper, 17 ½ x 22 ¼ in. veritable ésprit Ronsinian. Constantin Brancusi Jeune Fille Sophistiquée, 1928, polished bronze,

5 7 5 21 ⁄8 x 5 ⁄8 x 8 ⁄8 in. Edition 3/5, cast by Susse Fondeur, Paris, 2013.

KOHN GALLERY BARBARA KRAKOW GALLERY California Artists Two Ways of Looking Through Reality: George Segal, The Kohn Gallery is pleased to present a Sol LeWitt, Liliana Porter, and others carefully curated booth of California's leading Barbara Krakow Gallery presents Two Ways of assemblage, collage and Light & Space artists. Looking Through Reality, including artists from four generations who work with the grey area Lita Albuquerque between reality, representation and legibility. The Wallace Berman exhibition juxtaposes two ‘arenas’ of work: works Bruce Conner whose forms are instantly identifiable, yet cause Joe Goode some sense of confusion, inquiry or mystery and John McLaughlin works that begin with a sense of mystery but allow for focused inquiry. Together, these two approaches provide opposite, but complementary opportunities Wallace Berman Untitled (Shuffle), 1968, collage of verifax copies and acrylic on panel, 13 x 14 in. of exploration. George Segal Woman Against a Blue Tile Wall, 1983, unique plaster cast and glazed tile, 26 x 15¼ x 9 in.

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JEFFREY H. LORIA & CO., INC MATTHEW MARKS GALLERY Spanning the Career of Fernand Léger and Artists Jasper Johns, Fischli and Weiss, Influenced by Him Robert Gober, Ellsworth Kelly, Brice This interdisciplinary exhibition and sale will Marden, Charles Ray, and others span the length and breadth of Fernand Leger’s Matthew Marks Gallery presents a career, exhibiting not only the expanse of his carefully selected group of paintings, talent in many mediums (works on paper, sculpture, photographs, and drawings canvas, painted bronze and ceramic), but also the by artists the gallery represents, marked influence of his work on other artists of including Peter Fischli and David his time. Weiss, Robert Gober, Jasper Johns, Fernand Leger, Femme au Perroquet, 1940, gouache, ink and Ellsworth Kelly, Brice Marden, Ken watercolor on paper, 20 ½ x 14 ¾ in. Price, Charles Ray, Tony Smith, and Anne Truitt. Lucian Freud Pluto, 1988, oil on canvas, 10 ¾ x 13 ¾ in.

MARY-ANNE MARTIN|FINE ART BARBARA MATHES GALLERY Uncanny Geometries 20th Century Mexican and Latin American Artists: From Leonardo through Mondrian, geometry in Parisian Influences on Modern Art the history of art has symbolized order, rationality Mary Anne Martin|Fine Art exhibits works by and enlightenment. More recently, however, artists Mexican and Latin American artists who lived and have used geometry to subvert as well as to uphold studied in Europe in the early 20th century. rationality, and the works in this booth playfully Paintings and drawings by Rivera, Lam, Matta, undermine shaped perception. Dadamaino’s Pettoruti, Izquierdo and Gerzso are included. “Volume” juxtaposes biomorphic shapes cut into Artists who originated in Europe and fled to the surface of the canvas with the supporting Mexico and Latin America during the 1930s and architecture. Mark Grotjahn’s abstract compositions 40s, including Leonora Carrington, function as perspective diagrams that represent Mathias Goeritz, Alice Rahon, Bridget Tichenor three-dimensional space but also conjure natural and Wolfgang Paalen, are also shown, as their forms such as butterflies, flowers and flowing influence continued in their newly adopted homelands. We have also brought a selection water. Other artists include Alexander, Bonalumi, Castellani, D’Arcangelo, Dibbets, of sculptures by Panamanian/French contemporary artist, Isabel De Obaldía. Mangold, Melotti, Taeuber-Arp among others. 7 5 Diego Rivera Still Life with Book and Candle, 1918, pencil on paper, 14 ⁄8 x 11 ⁄8 in. 7 Mark Grotjahn Untitled, 2002, colored pencil on paper, 16 ¾ x 13 ⁄8 in.

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MCKEE GALLERY MENCONI + SCHOELKOPF FINE ART LLC Vija Celmins, Marcel Eichner, Philip Guston, Historical Survey of 10 Works of Early Modernism from Richard Learoyd, and others the Ashcan School to the New York School The McKee Gallery will present a variety of Menconi + Schoelkopf presents an exhibition of ten paintings and works on paper, original photo- important works of American Modernism, tracing graphs, and sculpture by Vija Celmins, Marcel the transition from the Ash Can School to the New Eichner, Philip Guston, Richard Learoyd, York School of mid-century. Early works by Stuart Leonid Lerman, Harvey Quaytman, Jeanne Davis demonstrate the transition of American Silverthorne, William Tucker, Lucy Williams and painting from the influence of Post-Impressionism Daisy Youngblood. to mature Modernism. Members of the Stieglitz Marcel Eichner Untitled, 2014, acrylic and ink on canvas, Circle already expressed this move towards explosive color and semi-abstraction: 79 x 55 in. Marsden Hartley will be among the representatives of this fertile and prescient moment. Two post-war works, including an important sculpture by Mark di Suvero, will illustrate the ongoing legacy of the Modernist program. Stuart Davis Gloucester Harbor, c. 1919, oil on canvas, 19 x 23 in.

MNUCHIN GALLERY PACE/MACGILL GALLERY Abstraction Works Prior to 1975 Night Mnuchin Gallery presents a curated selection of Pace/MacGill Gallery presents a multimedia important and Hard-Edge paintings. exploration of the nocturnal in art. Featuring work The presentation will feature Tzadik (1958), a by Robert Adams, Alexander Calder, Harry superlative example from Morris Louis’s Callahan, Robert Frank, Lee Friedlander, Emmet breakthrough Veil series, in which the artist Gowin, Zhang Huan, Peter Hujar, Franz Kline, poured layers of thinned acrylic paint onto Agnes Martin, Richard Misrach, Louise Nevelson, unstretched canvases to achieve mysterious Irving Penn, Aaron Siskind, Alfred Stieglitz, Hiroshi curtains of color. A pair of Frank Stella Concentric Square paintings from 1977-78 Sugimoto, , Henry Wessel and Fred will serve as bold geometric counterpoints to Louis’s enigmatic washes. Composed of Wilson, among others. The selection on view precise bands of vibrantly contrasting hues, these paintings’ methodical experimentation showcases some of the finest examples of with color and value results in a subtle play on perspectival space. photography, painting and sculpture inspired by Morris Louis Tzadik, 1958, acrylic resin (Magna) on canvas, 91 ½ x 140 ½ in. Photo by Tom Powel Imaging. nighttime and its connotations. 5 Zhang Huan Poppy Field No. 1, 2010, oil on linen, 31 ½ x 23 /8 in. ©Zhang Huan Studio. Photo courtesy the Artist.

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PACE PRINTS & PACE PRIMITIVE SUSAN SHEEHAN GALLERY Late Prints by Matisse, Picasso, and Dubuffet Post-War American Masters: Works on Paper Pace Prints presents an exhibition of important late Susan Sheehan Gallery is delighted to prints by Matisse, Picasso, and Dubuffet. When his exhibit a collection of Post-War American physical abilities began to decline in the late 1930s, prints and works on paper from the 1970s, Matisse devised a number of new printmaking 80s, and 90s. One of our most exciting techniques including linoleum cuts and the Jazz series works is by Brice Marden. Zen Studies 1-6: based on the artist’s paper cutouts. In addition Plate 1 is from the striking suite of six to these late prints by Matisse, the installation will etchings that Marden made in 1990 called include aquatints and linoleum cuts created by Picasso the Cold Mountain Series. This group of after 1945. In 1964, Dubuffet created a radical new prints was a departure from the heavy, geometric spaces of the artist's previous work. style in his art which he called L’Hourloupe. His Richard Diebenkorn's Large Light Blue is one of the most subtle works to be shown. innovative silkscreens from this period are characterized Made in tandem with his celebrated Ocean Park paintings, this work depicts an by a graphic energy, and embedded in the prints’ maze-like imagery and patches of red abstracted vision in washes of blue and green. and blue are his signature whimsical figures. Brice Marden Zen Studies 1-6: Plate 1, 1990, etching with aquatint, 69 ½ x 89 ½ in. Edition of 35. 3 Henri Matisse La Frégate, 1938, linocut, 12¼ x 9 ⁄8 in.

WASHBURN GALLERY YARES ART PROJECTS Red Hot and Blue: Ilya Bolotowsky, Ray Parker, 50 Years + 50 Artists of Riva Yares Gallery: Jackson Pollock, and others Milton Avery, Lee Krasner, Morris Louis, “Red Hot and Blue” is a salute by the Washburn and others Gallery to the history of the Seventh Regiment Yares Art Projects is pleased to announce an Armory and a nod to the great 1936 Broadway exhibition commemorating 50 years of Riva musical of the same name with a selection of Yares Gallery’s dedication to modern and works by nine artists represented by the Gallery contemporary art. The story of modern and whose work is each radically different in style contemporary art is also a story of great dealers. but expressed in these two primary . Without the efforts of these facilitators, art The artists will include Ilya Bolotowsky, Alice would not have moved forward the way it has. Trumbull Mason, Doug Ohlson, Ray Parker, This exhibition encompasses many facets of Jackson Pollock, Leon Polk Smith, David Smith, her career, but then Riva Yares has never been Myron Stout, and Jack Youngerman. afraid of exploration. For those have known her, a grand capriciousness is very much Leon Polk Smith Event in Blue, 1994, oil on canvas, 66 x 54 in. part of her genius. Kenneth Nolad Mysteries: Aglow, 2002, acrylic on canvas, 72 x 72 in.

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PAVEL ZOUBOK GALLERY Object Lesson: Transformation of Commercially Fabricated Objects in 7 Artists’ Sculptural Works Our booth installation explores the transformation of commercially fabricated objects in the sculptural works of seven distinguished modern and contemporary artists: Mary Bauermeister, Christo, Sari Dienes (1898-1992), Addie Herder (1920-2009), Man Ray (1980-1976), Charles McGill, and Judy Pfaff. “Object Lesson” surveys the persistence and scope of the readymade in the ensuing century, ranging from unadulterated appropriation to constructions that center on the juxtaposition of commercially manufactured objects. 5 Man Ray Cadeau, c. 1950, iron and nails, 7 ½ x 3 /8 x 4 in.

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FACT SHEET

ART DEALERS ASSOCIATION OF AMERICA (ADAA) ORGANIZES THE 27th ANNUAL ART SHOW TO BENEFIT HENRY STREET SETTLEMENT, MARCH 4 – 8, 2015

EVENT: Seventy-two of the nation’s leading art galleries present museum-quality works of art ranging from cutting-edge, 21st-century works to museum-quality pieces from the 19th and 20th centuries. Considered one of America’s most prestigious art fairs, The Art Show offers an outstanding selection of works by renowned and emerging artists in a variety of styles and mediums, including paintings, sculpture, drawings, prints, photographs, and multi-media works.

LOCATION: The Park Avenue Armory, Park Avenue and 67th Street, New York City

DATES AND HOURS: The Art Show is open to the public from Wednesday, March 4 through Sunday, March 8, 2014. Hours are as follows:

Wednesday, March 4 12:00 p.m. to 8:00 p.m. Thursday, March 5 12:00 p.m. to 8:00 p.m. Friday, March 6 12:00 p.m. to 8:00 p.m. Saturday, March 7 12:00 p.m. to 7:00 p.m. Sunday, March 8 12:00 p.m. to 5:00 p.m.

ADMISSION: Admission is $25 per day. All proceeds from ticket sales benefit Henry Street Settlement. Tickets are available online and at the door.

KEYNOTE SPEECH: This year, New York City Cultural Affairs Commissioner Tom Finkelpearl will discuss the city’s new cultural diversity initiative, launched in January to help arts institutions better serve audiences from an increasingly wide variety of backgrounds. Finkelpearl notes that “working with our partners at cultural organizations and in the funding community, we are confident that we will find strategies to foster a more equitable cultural landscape for the next generation of artists, administrators, and audiences.” Tom Finkelpearl, Keynote Speaker Friday, March 6, 2015, 6:00 pm The Board of Officers Room at The Park Avenue Armory 643 Park Avenue, NYC, at 67th Street

GALA PREVIEW: To inaugurate The Art Show 2015, a Gala Benefit Preview is held on Tuesday, March 3 from 5:30 p.m. to 9:30 p.m. and benefits Henry Street Settlement, one of New York City’s best-known and most effective social services and arts agencies. For additional information, please call (212) 766-9200 ext. 248. The preview schedule is as follows:

Millennium Circle 5:30 p.m. to 9:30 p.m. (Ticket $2,000) Super Benefactors 5:30 p.m. to 9:30 p.m. (Ticket $1,000) Benefactors 5:30 p.m. to 9:30 p.m. (Ticket $500) Patrons 6:30 p.m. to 9:30 p.m. (Ticket $350) Sponsors 7:30 p.m. to 9:30 p.m. (Ticket $150)

ART DEALERS ASSOCIATION OF AMERICA: All Art Show exhibitors are members of the Art Dealers Association of America (ADAA), a non-profit membership organization of the nation’s leading galleries. Founded in 1962, ADAA seeks to promote the highest standards of connoisseurship, scholarship and ethical practices within the profession. Visit www.artdealers.org for more information.

HENRY STREET SETTLEMENT: Founded in 1893 by Progressive reformer Lillian Wald and based on Manhattan’s Lower East Side, Henry Street Settlement delivers a wide range of social services, healthcare and arts programs that improve the lives of more than 50,000 New Yorkers each year. Distinguished by a profound connection to its neighbors, a willingness to address new problems with swift and innovative solutions, and a strong record of accomplishment, Henry Street challenges the effects of urban poverty by helping families achieve better lives for themselves and their children.

For further press information or visual materials, please contact:

Jenny Isakowitz Taylor Maatman FITZ & CO FITZ & CO T: (212) 627-1455 ext. 0923 T: (212) 627-1455 ext. 0926 E: [email protected] E: [email protected]

HENRY STREET SETTLEMENT

Founded in 1893 by Progressive reformer Lillian Wald on Manhattan's Lower East Side, Henry Street Settlement challenges the effects of urban poverty by helping families achieve better lives for themselves and their children.

Distinguished by a profound connection to its neighbors, a willingness to address new problems with swift and innovative solutions, and a strong record of accomplishment, Henry Street is one of the city’s largest and most effective social services agencies. Many of its initiatives have been replicated nationwide.

Today, Henry Street Settlement enriches the quality of life for over 50,000 Lower East Side residents and other New Yorkers each year by providing innovative social services, arts and health care programs at 17 program sites, and at satellites locations in public schools and public housing. Henry Street offers more than 45 programs encompassing workforce development; shelter and supportive services for homeless families, survivors of domestic violence and adults; mental health and primary care clinics; a parent center; a full range of senior services, including home-delivered meals; day care centers, after-school, college prep and employment programs for youth; and academic and health and wellness programs.

Henry Street continues Lillian Wald’s commitment to provide access to the arts to everyone. Each year, more than 30,000 students, artists, and audiences create and experience dynamic works of art through the award-winning Abrons Arts Center. In 2015 Henry Street marks the Centennial of Abrons' Playhouse, celebrated with twelve months of art and theater making by vanguard downtown artists, scholarships for arts instruction, and residencies for creation and experimentation.

Henry Street’s myriad programs are made possible through individual, corporate, and foundation donations and as well as through government funding. To read more about Henry Street, please explore our website at www.henrystreet.org.

For additional information, please contact:

Adrian Geraldo Saldaña Special Events Coordinator Henry Street Settlement 265 Henry Street New York, NY 10002 T: (212) 766-9200 ext. 247 E: [email protected]