PAST EXHIBITIONS Pollock-Krasner House and Study Center
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The Women of American Abstract Artists, 1936-Present
BLURRING BOUNDARIES THE WOMEN OF AMERICAN ABSTRACT ARTISTS, 1936-PRESENT TRAVELINGTRAVELING EXHIBITIONEXHIBITION SERVICESERVICE TRAVELING EXHIBITION SERVICE 1 2 BLURRING BOUNDARIES BLURRING BOUNDARIES The Women of American Abstract Artists, 1936 – Present The stamp of modern art is clarity: clarity of color, clarity of forms and of composition, clarity of determined dynamic rhythm, in a determined space. Since figuration often veils, obscures or entirely negates purity of plastic expression, the destruction of the particular form for the universal one becomes a prime prerequisite. Perle Fine (1905-1988) 1. Claire Seidl, Neither Here Nor There, 2016, oil on linen. Courtesy of the Artist. 1 TRAVELING EXHIBITION SERVICE 3 erle Fine’s declaration for the hierarchy of distilled form, immaculate line, and pure color came close to P being the mantra of 1930s modern art—particularly that of American Abstract Artists (AAA), the subject of a new exhibition organized by the Ewing Gallery and the Clara M. Eagle Gallery entitled Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present. Founded during the upheavals of America’s Great Depression, AAA was established at a time when museums and galleries were still conservative in their exhibition offerings. With its challenging imagery and elusive meaning, abstraction was often presented as “not American,” largely because of its derivation from the European avant-garde. Consequently, American abstract artists received little attention from museum and gallery owners. Even the Museum of Modern Art, which mounted its first major exhibition of abstract art in 1936, hesitated to recognize American artists working within the vein of abstraction. (MoMA’s exhibition Cubism and Abstract Art, groundbreaking at the time for its non- representational content, filled four floors with artwork, largely by Europeans.) This lack of recognition from MoMA angered abstract artists working in New York and was the impetus behind the founding of American Abstract Artists later that year. -
Deutsche Nationalbibliografie 2020 B 20
Deutsche Nationalbibliografie Reihe B Monografien und Periodika außerhalb des Verlagsbuchhandels Wöchentliches Verzeichnis Jahrgang: 2020 B 20 Stand: 13. Mai 2020 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2020 ISSN 1869-3954 urn:nbn:de:101-201911291236 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. In Reihe B werden Medienwerke, die außerhalb des Ver- den, sofern sie eine eigene Sachgruppe haben, innerhalb lagsbuchhandels erscheinen, angezeigt. Außerhalb des der eigenen Sachgruppe aufgeführt, ansonsten unter der Verlagsbuchhandels erschienene Medienwerke die von Sachgruppe des Gesamtwerkes. Innerhalb der Sachgrup- gewerbsmäßigen Verlagen vertrieben werden, werden -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
The First Names That Come to Mind in Abstract Expressionism—Jackson Pollock, Willem De Kooning, and the Like—May All Be Men
The first names that come to mind in Abstract Expressionism—Jackson Pollock, Willem de Kooning, and the like—may all be men, but women artists also played a crucial role in the internationally-renown movement. It’s time for some long-overdue recognition of other Ab Ex greats. On view at the Denver Art Museum until September 25, curator Gwen Chanzit is spotlighting the achievements of such artists in the first museum exhibition to focus solely on female Abstract Expressionists painters, simply titled “Women of Abstract Expressionism“. Featuring more than 50 major paintings, the show focuses on both East and West Coast artists, pairing familiar names, such as Helen Frankenthaler, with Perle Fine and Mary Abbott, among other less recognized figures. “Except for a very small number of scholars who have spent their lives working in this field, there will be people you haven’t heard of,” Chanzit told artnet News. But, she points out, “ten years ago people didn’t really know Jay DeFeo.” “This is not about pushing a feminist agenda, it’s about taking another look,” Chanzit added, pointing out that as recently as the 1980s, there wasn’t a single female artist in Janson’s History of Art, the standard college textbook. There have been recent museum surveys of female surrealists, Pop artists and Impressionists, but she was breaking new ground with her Denver show. “It was so clear to me that it needed to be done,” Chanzit said. In preparation for the exhibition, Chanzit cast a wide net, taking a look at the work of over 100 women, about 40 of whom she says would have been a good fit for the final show and are featured in the catalogue. -
Painters of the East End
Painters of the East End JULY 11 – AUGUST 16, 2019 297 TENTH AVENUE Kasmin is pleased to announce Painters of the East End, on view at 297 Tenth Avenue between July 11 – August 16, 2019. The exhibition explores the commonalities and distinctions of the work produced amongst the coterie culture of Long Island’s South Fork during the mid-twentieth century, including Mary Abbott, Nell Blaine, Perle Fine, Helen Frankenthaler, Jane Freilicher, Elaine de Kooning, Lee Krasner, Joan Mitchell, Charlotte Park, Betty Parsons, and Jane Wilson. Artists have historically converged on Long Island seeking inspiration from the landscape and an escape from their confined urban studios, while still retaining access to the energy of New York City. With the mass influx of the European avant-garde following the onset of World War II and the subsequent establishment of the New York School, a thriving and collaborative artist-based community was born in the East End. The Hamptons of the New York School was untamed, inexpensive, and a bastion of bohemian living. The opportunities provided by the area’s open spaces were developmental for the painters who set up there not only because of their practical advantages—larger studios, relative quiet—but for novel subject-matter that allowed for contemplations of the horizon, rural landscapes, and bodies of water, nodding to the lineage of the Romantic sublime. 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com Perhaps most crucial for these artists was their shared inspirations which led to a new model of community, differing in both structure and character from the frenetic energy of lower Manhattan. -
Postwar Abstraction in the Hamptons August 4 - September 23, 2018 Opening Reception: Saturday, August 4, 5-8Pm 4 Newtown Lane East Hampton, New York 11937
FOR IMMEDIATE RELEASE Montauk Highway II: Postwar Abstraction in the Hamptons August 4 - September 23, 2018 Opening Reception: Saturday, August 4, 5-8pm 4 Newtown Lane East Hampton, New York 11937 Panel Discussion: Saturday, August 11th, 4 PM with Barbara Rose, Lana Jokel, and Gail Levin; moderated by Jennifer Samet Mary Abbott | Stephen Antonakos | Lee Bontecou | James Brooks | Nicolas Carone | Giorgio Cavallon Elaine de Kooning | Willem de Kooning | Fridel Dzubas | Herbert Ferber | Al Held | Perle Fine Paul Jenkins | Howard Kanovitz | Lee Krasner | Ibram Lassaw | Michael Lekakis | Conrad Marca-Relli Peter Moore |Robert Motherwell | Costantino Nivola | Alfonso Ossorio | Ray Parker | Philip Pavia Milton Resnick | James Rosati | Miriam Schapiro | Alan Shields | David Slivka | Saul Steinberg Jack Tworkov | Tony Vaccaro | Esteban Vicente | Wilfrid Zogbaum EAST HAMPTON, NY: Eric Firestone Gallery is pleased to announce the exhibition Montauk Highway II: Postwar Abstraction in the Hamptons, opening August 4th, and on view through September 23, 2018. In the 1950s and 1960s, the Hamptons became one of the most significant meeting grounds of like-minded artists, who gathered on the beach, in local bars, and at the artist-run Signa Gallery in East Hampton (active from 1957-60). It was an extension of the vanguard artistic activity happening in New York City around abstraction, which constituted a radical re-definition of art. But the East End was also a place where artists were freer to experiment. For the second time, Eric Firestone Gallery pays homage to this rich Lee Krasner, Present Conditional, 1976 collage on canvas, 72 x 108 inches and layered history in Montauk Highway II. -
A Furniture Comedy for Hans Hofmann," an "Environment" by Allan
THE MUSEUM OF MODERN ART No. k8 11 WEST 53 STREET, NEW YORK 19, N. Y. F0R RELEASE: Thursday, April 18, I963 TILEPHONE: CIRCLE 5-8900 9 ' r ' W W NOTE: The special viewing of the exhibition Hans Hofmann and His Students including the "environment" described here will take place from k to 6 p.m., Wednesday, April 17, 19&3 at Santini's Warehouse, kkf West 1+9 Street. Mr. Hofmann, the other artists represented in the exhibition, and lenders have been invited. Members of the press and photographers are, of course, welcome to attend and participate. "Push and Pull - A Furniture Comedy for Hans Hofmann," an "environment" by Allan Kaprow, will be presented for an invited audience as part of a special one-day show ing of a new Museum of Modern Art circulating exhibition, Hans Hofmann and His Students, on Wednesday, April IT at Santini's Warehouse, khj West 1*9 Strset. The exhibition consists of six major paintings by the famous 83-year-old teacher and one work each by 50 well-known American artists who have been his students. The show will be shipped from the warehouse later this month to begin a year and one-half long tour of the United States* The great variety of media and styles in the exhibition is a testament to Hofmann1s ability to inspire individual creativity. According to William C, Seitz, Associate Curator of Painting and Sculpture Exhibitions who organized the show, "the Impact of Hofmann's teaching, especially on American art of the post-war period, has been invaluable. -
Lyrical Abstraction
Lyrical Abstraction Findlay Galleries presents the group exhibition, Lyrical Abstraction, showcasing works by Mary Abbott, Norman Bluhm, James Brooks, John Ferren, Gordon Onslow Ford, Paul Jenkins, Ronnie Landfield, Frank Lobdell, Emily Mason, Irene Rice Pereira, Robert Richenburg, and Vivian Springford. The Lyrical Abstraction movement emerged in America during the 1960s and 1970s in response to the growth of Minimalism and Conceptual art. Larry Aldrich, founder of the Aldrich Museum, first coined the term Lyrical Abstraction and staged its first exhibition in 1971 at The Whitney Museum of American Art. The exhibition featured works by artists such as Dan Christensen, Ronnie Landfield, and William Pettet. David Shirey, a New York Times critic who reviewed the exhibition, said, “[Lyrical Abstraction] is not interested in fundamentals and forces. It takes them as a means to an end. That end is beauty...” Jackson Pollock’s drip paintings and Mark Rothko’s stained color forms provided important precedence for the movement in which artists adopted a more painterly approach with rich colors and fluid composition. Ronnie Landfield, an artist at the forefront of Lyrical Abstraction calls it “a new sensibility,” stating: ...[Lyrical Abstraction] was painterly, additive, combined different styles, was spiritual, and expressed deep human values. Artists in their studios knew that reduction was no longer necessary for advanced art and that style did not necessarily determine quality or meaning. Lyrical Abstraction was painterly, loose, expressive, ambiguous, landscape-oriented, and generally everything that Minimal Art and Greenbergian Formalism of the mid-sixties were not. Building on Aldrich’s concept of Lyrical Abstractions, Findlay Galleries’ exhibition expands the definition to include artists such as John Ferren, Robert Richenburg and Frank Lobdell. -