Media Materials the art show
March 5–9, 2014 The 26th Annual Art Show Park Avenue Armory At 67th Street, New York City
TO BENEFIT Henry Street Settlement
ORGANIZED BY Art Dealers Association of America
FOUNDED 1962 Lead Partner of The Art Show
THE ART SHOW CELEBRATES 26 YEARS
FEATURING 34 THEMATIC PRESENTATIONS ALONGSIDE 38 SOLO ARTIST BOOTHS
AT THE NATION’S LONGEST RUNNING FINE ART FAIR ORGANIZED BY THE ART DEALERS ASSOCIATION OF AMERICA (ADAA) MARCH 5 – 9, 2014
GALA PREVIEW BENEFITING HENRY STREET SETTLEMENT TUESDAY, MARCH 4, 2014
New York, December 12, 2013 — Gallery presentations at the 26th 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 5 through March 9, 2014 at the historic Park Avenue Armory, with a ticketed Gala Preview on Tuesday, March 4. 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 also returned for the third 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 26th edition is no exception. With 38 solo shows the 2014 Art Show will present exhibitions of art world icons and introduce audiences to groundbreaking new artists. Sperone Westwater will present the first exhibition of new works by Charles LeDray since his acclaimed traveling retrospective organized by the ICA Boston. Never before exhibited historical works, vintage photographs, ephemera and films by Martha Wilson will be shown by P-P-O-W. Marian Goodman Gallery will present a selection of early lightboxes by Jeff Wall. To mark the 100th birthday of Ad Reinhardt, 303 Gallery will exhibit new works by Jacob Kassay who is greatly influenced by Reinhardt. Holographic works by light artist James Turrell will be on view in Pace Gallery’s booth.
Thematic Exhibitions In addition to solo shows, The Art Show 2014 remains unparalleled with its installation of curated, thematic exhibitions. Leslie Tonkonow Artworks + Projects will present Groups and Grids with works by Robert Watts, Agnes Denes and Michelle Stuart. The Power of Color, an exhibition by June Kelly Gallery, will include works by James Little, Hanibal Srouji and Nola Zirin. The cross cultural influence of Native American Art on Jackson Pollock’s work will be examined in Washburn Gallery’s booth which will showcase Native American works alongside Pollock’s. Matthew Marks Gallery will display selected works by Jasper Johns, Ellsworth Kelly, Gary Hume and Anne Truitt.
Lead Partner International art insurance specialist, AXA Art, returns as Lead Partner of The Art Show 2014. In addition to The Art Show, AXA Art has, since 2008, collaborated with and supported the ADAA Collectors’ Forum Series which brings together the most prominent collectors and art market experts to cultivate knowledge and education in the fine arts.
Gala Benefit Preview To inaugurate The Art Show 2014, a Gala Benefit Preview will be held on Tuesday, March 4th from 5:30 p.m. to 9:30 p.m. and will benefit Henry Street Settlement, one of New York City’s best known and most effective social services and arts agencies. For advance ticket purchases or additional information, please call 212-766- 9200 ext. 248, or visit www.henrystreet.org/artshow.
Henry Street Settlement Henry Street Settlement is a not-for-profit multifaceted agency that provides innovative social service, arts and health care programs to New Yorkers of all ages. Founded on Manhattan’s Lower East Side in 1893 by social reformer Lillian Wald, today Henry Street continues to be dynamic catalyst for social and economic progress. The Settlement serves more than 50,000 New Yorkers each year, particularly residents of the ethnically diverse, densely populated lower east side of Manhattan. 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.
Art Dealers Association of America Founded in 1962, the Art Dealers Association of America (ADAA) is a not-for-profit membership organization of more than 170 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 50 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 the Americas, Asia and Europe, with a sincere consideration of the way valuable objects are insured and cultural patrimony is protected. For assistance, please contact AXA Art’s National Business Development Contact: Jill Arnold – telephone: (212) 415-8423, Email: [email protected]. 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, FITZ & CO T: 212-627-1455 x254 E: [email protected]
Solo Shows
EXHIBITOR EXHIBITION TITLE 303 Gallery Jacob Kassay Alexander and Bonin Robert Kinmont Blum & Poe Koji Enokura Marianne Boesky Gallery Roxy Paine Tanya Bonakdar Gallery Analia Saban Janet Borden, Inc. Alfred Leslie James Cohan Gallery Spencer Finch CRG Gallery Tonico Lemos Auad Tibor de Nagy Gallery New paintings by Sarah McEneaney Fraenkel Gallery Diane Arbus Peter Freeman, Inc. James Castle Galerie St. Etienne Paula Modersohn-Becker Marian Goodman Gallery Jeff Wall Alexander Gray Associates Jack Whitten Hirschl & Adler Modern Fairfield Porter Rhona Hoffman Gallery Sol LeWitt Sean Kelly Gallery Kehinde Wiley Hans P. Kraus Jr., Inc. Gustave Le Gray Galerie Lelong Petah Coyne Lennon, Weinberg H.C. Westermann Luhring Augustine Philip Taaffe Anthony Meier Fine Arts Michael Wetzel Metro Pictures Sara VanDerBeek Laurence Miller Gallery Toshio Shibata Robert Miller Gallery Lee Krasner Mitchell-Innes & Nash Anthony Caro David Nolan Gallery Gavin Turk P-P-O-W Martha Wilson Pace Gallery James Turrell Pace/MacGill Irving Penn Petzel Gallery Dana Schutz Yancey Richardson Gallery Zanele Muholi Salon 94 Laurie Simmons Carl Solway Gallery Ann Hamilton Sperone Westwater Charles LeDray Weinstein Gallery Vera Lutter Michael Werner Per Kirkeby David Zwirner Ad Reinhardt
Thematic Exhibitions
EXHIBITOR EXHIBITION TITLE Masterworks: Allegory and Allusion in Modern Art, from Acquavella Galleries, Inc. Arp to Warhol Numbers + Letters: works from the Modernist era to Adler & Conkright Fine Art today Albers, Artschwager, Baldessari, Guston, Holzer, Johns, Brooke Alexander, Inc. Judd, Price, Pettibon, Rauschenberg, and Rosenquist Mark di Suvero, Chuck Close, Joel Shapiro, Julie Mehretu John Berggruen Gallery and others Bortolami Daniel Buren and Richard Aldrich Cheim & Read Gaston Lachaise and Louise Bourgeois Sculpture & drawings by Paul Manship, William Hunt Conner ▪ Rosenkranz LLC Diederich + neoclassical marbles by Hiram Powers Surrealist, Modernist and Pop works by Fernand Léger, Richard L. Feigen & Co. Joan Miró, Andy Warhol, James Rosenquist, Ray Johnson Modern Life in America: works on paper by Milton Avery, Debra Force Fine Art, Inc. Edward Hopper, Reginald Marsh and others Works by Modern Masters and Pop Artists including James Goodman Gallery Alexander Calder, Jean Dubuffet, Roy Lichtenstein, Andy Warhol and others Architecture artists including Abbott, Brandt, Frank, Howard Greenberg Gallery Meyerowitz, Steichen and others Ornament/Ornamentation: sculptures by Jesse Small and Nancy Hoffman Gallery paintings by Robert Zakanitch The Power of Color: works by James Little, Hanibal Srouji June Kelly Gallery and Nola Zirin Intersections of the Unknown: works by Artschwager, Barbara Krakow Gallery Calle, Serra and others John Sloan, William Glackens, Alfred Maurer, John Marin, Kraushaar Galleries Joseph Stella, Maurice Prendergast and others Jeffrey H. Loria & Co. Lautrec, Lichtenstein, Brancussi, Braque and others Minimalist/post-minimalist drawings from the 1960s and Lawrence Markey 70s Matthew Marks Gallery Works by Johns, Kelly, Hume, Demand, Price, Truitt Works by 19th & 20th century Mexican and Latin American Mary-Anne Martin/Fine Art artists
The Automobile: Mixed media works by d’Arcangelo, Barbara Mathes Gallery Ruscha, Chamberlain and others McKee Gallery Celmins, Guston, Puryear, Learoyd, Lerman, Youngblood Masterworks of American Modernism: Dove, Demuth, Menconi & Schoelkopf Fine Arts, LLC Crawford, Biederman 20th Century American and European Masters: Avery, Donald Morris Gallery, Inc. Calder, Cornell, Kline, Leger, Picasso and others Mnuchin Gallery Sixties Minimalism Prints from the 18th – 20th centuries: Picasso, Goya, Pace Prints & Pace Primitive Matisse, Ryman, Stella and others James Reinish & Associates, Inc. Realism and Abstraction in 20th Century American Art Just Looking: the relationship between photographer and Julie Saul Gallery model - Nikolay Bakharev, Arne Svenson, S A Johnson Post war prints by Kelly, Twombly, Marden, Diebenkorn Susan Sheehan Gallery and others Works from the New School: Baron, Bluhm, Dugmore, Manny Silverman Gallery Motherwell, Goldberg and others Condo, Haring, Kelley, Kippenberger, Kruger, Sherman, Skarstedt Gallery, Ltd. Prince and Warhol Groups and Grids: works by Robert Watts, Agnes Denes, Leslie Tonkonow Artworks + Projects Michelle Stuart and others The Painted Figure: works by Richard Diebenkorn and Van Doren Waxter/Eleven Rivington Jeronimo Elespe Paintings by Jackson Pollock along with Native American Washburn Gallery works to illustrate cultural influences in Pollock’s work A selection of contemporary American and European Michael Werner works as well as works by modern masters. Pavel Zoubok Gallery Women Collagists: Sarah Austin, Hannelore Baron, Biala, Vanessa German, Ilse Getz and others
The Art Show 2014 List of Exhibiting Galleries
303 Gallery Luhring Augustine Acquavella Galleries, Inc. Lawrence Markey Adler & Conkright Fine Art Matthew Marks Gallery Alexander and Bonin Mary-Anne Martin/Fine Art Brooke Alexander, Inc Barbara Mathes Gallery John Berggruen Gallery McKee Gallery Blum & Poe Anthony Meier Fine Arts Marianne Boesky Gallery Menconi & Schoelkopf Fine Arts, LLC Tanya Bonakdar Gallery Metro Pictures Bortolami Laurence Miller Gallery Janet Borden, Inc. Robert Miller Gallery Cheim & Read Mitchell-Innes & Nash James Cohan Gallery Mnuchin Gallery Conner-Rosenkranz LLC Donald Morris Gallery, Inc. CRG Gallery David Nolan Gallery Tibor de Nagy Gallery P-P-O-W Richard L. Feigen & Co. Pace Gallery Debra Force Fine Art, Inc. Pace/MacGill Gallery Fraenkel Gallery Pace Prints & Pace Primitive Peter Freeman, Inc. Petzel Gallery Galerie St. Etienne James Reinish & Associates, Inc. James Goodman Gallery Yancey Richardson Gallery Marian Goodman Gallery Salon 94 Alexander Gray Associates Julie Saul Gallery Howard Greenberg Gallery Susan Sheehan Gallery Hirschl & Adler Modern Manny Silverman Gallery Nancy Hoffman Gallery Skarstedt Gallery, Ltd. Rhona Hoffman Gallery Carl Solway Gallery June Kelly Gallery Sperone Westwater Sean Kelly Gallery Leslie Tonkonow Artworks + Projects Barbara Krakow Gallery Van Doren Waxter/Eleven Rivington Hans P. Kraus Jr., Inc. Washburn Gallery Kraushaar Galleries Weinstein Gallery Galerie Lelong Michael Werner Lennon, Weinberg Pavel Zoubok Gallery Jeffrey H. Loria & Co. David Zwirner
Artsy James Cohan Gallery Menconi + Schoelkopf Alexander Gray Tanya Bonakdar Laurence Miller McKee Gallery Pavel Zoubok Kraushaar Galleries P-P-O-W Carl Solway Gallery AXA Art Café Charging Fine Art, LLC Associates Gallery Gallery Gallery Station A5 A7 A9 A11 A13 A15 A17 A19 A21 A23 303 Gallery
Galerie A25 Lelong Mitchell-Innes & Nash Metro Pictures David Nolan Gallery Conner-Rosenkranz LLC Yancey Richardson Nancy Hoffman Gallery Coatcheck Gallery Leslie Tonkonow Susan A3 A4 A6 A8 A10 A12 A14 Mnuchin Artworks + Sheehan Gallery Projects Gallery Spoonbill & Alexander and Bonin Washburn Gallery Debra Force Fine Art, Inc. Hans P. Kraus Jr. Inc. James Goodman Gallery Skarstedt Sugartown A27 Booksellers Cheim & A2 B3 B5 B7 B9 B11 B13 A16 Read Emergency Exit
A1 Lennon, Weinberg Pace Gallery Petzel Gallery Matthew Marks Gallery Adler & Conkright Marianne Boesky Salon 94 Fine Art Gallery Sperone B2 B4 B6 B8 B10 B12 Anthony A28 Westwater Meier Fine Arts Park Avenue Barbara Krakow Gallery Peter Freeman, Inc. David Zwirner Pace Prints & Rhona Hoffman Gallery Michael Werner Entrance Pace Primitive Lawrence B1 C3 C5 C7 C9 C11 C13 B14 Markey
D29 Weinstein Gallery Emergency Exit Mary-Anne Martin/ Fraenkel Gallery Jeffrey H. Loria & Co., Inc. James Reinish & Robert Miller Gallery Pace/MacGill Gallery Fine Art Associates, Inc.
D2 Hirschl & C2 C4 C6 C8 C10 C12 Luhring Bortolami Adler Augustine Modern Acquavella Brooke Alexander, Inc. Barbara Mathes Gallery Manny Silverman Gallery Howard Greenberg Donald Morris Van Doren Galleries, Inc. Gallery Gallery, Inc. Waxter/ Eleven C1 D3 D5 D7 D9 D11 D13 C14 D28 Rivington
D4 John Berggruen Gallery Blum & Poe Marian Goodman CRG Gallery Tibor de Nagy Janet Borden, Inc. Richard L. Feigen & Co. Galerie June Kelly Gallery Julie Saul Gallery Sean Kelly Gallery Gallery Gallery St. Etienne
D6 D8 D10 D12 D14 D16 D18 D20 D22 D24 D26
Solo Show Thematic Show the art show THE ART SHOW 2014 HIGHLIGHTS: SOLO SHOWS
303 Gallery ALEXANDER and bonin Jacob Kassay Robert Kinmont: Selected Works 303 Gallery presents Jacob Kassay. Using the Alexander and Bonin exhibits three series of residual textiles from paintings long lost, sold or photographs by Robert Kinmont. Having spent otherwise disappeared, Kassay has produced most of his adult life in northern California, rural supports that follow the unique profiles and environments provide the practical and conceptual contours of each remnant for an ongoing series underpinning of his practice. Exhibited are of irregularly shaped paintings. Having photographs from 1965–1975, 8 Natural Handstands reproduced these stretchers as templates for a and Just about the Right Size, in addition to his new series of paintings, Kassay applies an process-oriented conceptual sculpture such as Sit atomized acrylic paint in place of the raw canvas on the floor, 1969–1970 and Box with willow sticks of the original remnants. Oscillating between hollowed out and filled with sage, 1974–1975; sculptures dimensional states, the paintings’ surfaces where simple thoughts, actions and conditions simultaneously condense as solid textures and take on an existential meaning. 7 7 diffuse into depth-less fields of pixels. Robert Kinmont Just about the right size (detail), 1970/2008, silver gelatin print, 13 ⁄8 x 10 ⁄8 in. Photo by Joerg Lohse.
1 Jacob Kassay Default Premiere, 2013, acrylic on canvas, 20 ½ x 17 ⁄8 in
BLUM & POE marianne boesky gallery K¯oji Enokura Roxy Paine Blum and Poe’s presentation focuses on Marianne Boesky Gallery presents Roxy Paine’s K¯o ji Enokura’s post-1980s works. Enokura latest series of works on paper. Paine’s drawings variously contrasts smooth fields of black grapple with the governing relativity among the paint with unpainted fabric, often using mind, systems and culture. In addition to this series oil-soaked beams of lumber to mark the of works on paper, Paine will present a new fabric; either affixing beams to the work or sculpture that physically incarnates the amalgamated, leaning them against it. Since the 1970s he multivalent vision set forth by those works. The has explored the encounter between natural uncanny object – an anthropomorphized, robotic and industrial materials by staining paper, limb-like form laboriously sculpted out of wood cloth, felt, and leather with oil and grease, and discoloring the floors and walls of galleries – suggests both the carcass and the potential of and outdoor spaces. the manmade object, and the vast plane of meaning K¯oji Enokura Intervention (Story - No. 47), 1992, acrylic on cotton, wood plank, 86 x 114 ½ x 3 ½ in. Courtesy the contained in the space between. Estate of K¯oji Enokura and Blum & Poe, Los Angeles. Roxy Paine Condensate No. 2, 2013, ink on paper, 95 x 55 in.
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tanya bonakdar gallery janet borden, inc. Analia Saban Alfred Leslie Pixel Scores Tanya Bonakdar gallery presents Analia Saban. Janet Borden, Inc. presents Alfred Leslie’s realistic As part of her unorthodox style, Saban dissects painting style merged with modern technology, and reconfigures traditional notions of painting, creating fantastic hybrid views which the artist calls often using paint as the subject itself. Blurring “pixel scores.” Using computer tools and software, the lines between imagery and object, painting the images are digitally drawn by hand, and then and sculpture, her work explores material and printed as light jet photographs. Leslie delights in process as they relate to art both historically and his ability to invent memorable and specific within the context of daily life. portraits, often of literary characters. A pastel on Analia Saban Pocket Watch #2, 2013, graphite on laser linen portrait of Willem de Kooning further sculpted paper, 37 x 36 ¼ x 1 ½ in. Photo by Brian Forrest. exemplifies Leslie’s uncanny facility for portraiture Courtesy the Artist and Tanya Bonakdar Gallery, New York. in any medium. Alfred Leslie Bill Dekooning in 1966, 2011, oil pastel on linen, 84 x 60 in. © Alfred Leslie. Courtesy Janet Borden, Inc.
james cohan gallery crg gallery Spencer Finch Tonico Lemos Auad James Cohan Gallery presents a solo CRG Gallery exhibits London-based, exhibition of new works by Spencer Brazilian-born artist Tonico Lemos Finch, featuring a suite of new Scotch Auad. In his most recent body of work, tape collage studies inspired by his Auad produced drawings on linen with recollections and observations of Monet’s thread, weaving delicate seascape scenes home in Giverny, Thoreau’s Walden of abstracted sailboats or seahorses that Pond, and other sites of personal and become visible only in close examina- historical resonance. These beguilingly tion. The use of linen and thread also sensitive works playfully transform the enters the three dimensional realm, as mundane to evoke the sublime. With both a scientific approach to gathering data and a objects that reference organic, fruit-like true poetic sensibility, Finch’s installations, sculptures and works on paper filter percep- shapes but also have a decorative, lacey tion through the lens of nature, history, literature and personal experience. quality to them. Here, Auad continues Spencer Finch Cloud Study (France), 2014, scotch tape on paper, 19½ x 25 ½ in. ©the Artist. Courtesy James Cohan his exploration of infusing the seemingly mundane with the ethereal and magical. Gallery, New York/Shanghai. Tonico Lemos Auad Seahorses, 2013, linen and thread, dimensions variable. Courtesy the Artist and Large Glass, UK. Photo by Alex Delfanne
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tibor de nagy gallery fraenkel gallery Sarah McEneaney: Recent Work Diane Arbus: Couples Tibor de Nagy Gallery presents a Fraenkel Gallery presents Diane Arbus: Couples, solo exhibition of new paintings by fifteen rare photographs spanning Arbus’s life as Philadelphia-based artist Sarah McEneaney. an artist. Diane Arbus’s career was brief - a mere McEneaney has for more than two fifteen years - yet even her earliest photographs decades explored identity and autobiog- evidence an acute interest in singular people and raphy in paint. Roberta Smith, in her the mysteries that bring human beings together New York Times review of the exhibition, or keep them apart. Focusing on a single called her “a latter-day miniaturist photograph per year, Diane Arbus: Couples working in the old-fashioned medium of egg tempera on board, picturing little epiphanic simultaneously examines one of Arbus’s central instants in a self-deprecating life-of-the-saints mode.” concerns, and sheds light on the artist’s evolution Sarah McEneaney 1000 Rampart St NO, 2013, egg tempera on wood, 16 x 24 in. Courtesy Tibor de Nagy Gallery, New York. from 1956 until shortly before her death in 1971. Diane Arbus Girl and boy, Washington Square Park, N.Y.C. 1965, 1965, gelatin-silver print. © The Estate of Diane Arbus
peter freeman, inc. galerie st. etienne James Castle Paula Modersohn-Becker: The First Modern Peter Freeman, Inc., is pleased to present a Woman Artist one-artist stand of work by James Castle, a The Galerie St. Etienne, which mounted Paula self-taught artist who created a diverse body of Modersohn-Becker’s first American exhibition work over a period of more than sixty years. On in 1958, is honored to feature the largest view will be examples from key areas of his private collection of the artist’s work in the practice, including drawings, constructions, and US (numbering over half-a-dozen oils). delicately bound books, all of which he made using Modersohn-Becker, one of the first Central found papers, string, tools of his own making, and European artists to absorb the formal and discarded materials like soot. Peter Freeman, Inc., coloristic innovations of the French Post- in collaboration with the James Castle Collection Impressionists, is among the most significant and Archive, will also publish an illustrated booklet forerunners of German Expressionism. about the work accompanied by an essay by Joseph Paula Modersohn-Becker Herma with Amber Nechlace,
3 3 Grigely. 1905, oil on canvas, mounted on wood, 13 ⁄8 x 10 ⁄8in. James Castle Untitled, no date, found paper, soot, color of unknown origin, string, 27 ½ x 15 ½ in
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marian goodman gallery alexander gray associates Jeff Wall Jack Whitten Marian Goodman Gallery will show a selection of Alexander Gray Associates presents a curated early lightboxes by the artist Jeff Wall. The works selection of paintings and works on paper by selected for our presentation will address the Jack Whitten from the 1970s, a key moment in neo-realist and near-documentary concerns at the the formal development of the artist’s technical core of his practice, and reflect the artist’s continuing innovations. On view will be emblematic works investigation of the intersection between reality and which emphasize speed and fluidity, including a invention and the realist potential of picture painting from the artist’s 1974 solo exhibition at making, from the ‘near-documentary’ to the the Whitney Museum, and a never-before reconstructed mise en scène. exhibited painting from Whitten’s Greek Alphabet series. Jeff Wall A sapling held by a post, 2000, transparency in lightbox, Jack Whitten Sphink’s Alley III, 1975, acrylic on canvas, 73 x 84 in. Courtesy Alexander Gray Associates, New York 22 x 18 ½ in.
hirschl & adler modern rhona hoffman gallery Fairfield Porter Sol LeWitt Hirschl & Adler Modern is proud to present a solo Rhona Hoffman Gallery began working with Sol exhibition of works by Fairfield Porter. Paintings LeWitt in the mid-1970s and continues to work and works on paper span Porter’s early career to with his oeuvre today. Contrary to the notion of his death, covering themes for which he is best his work being mathematically based, the work is known, including still lifes, landscapes, portraits of completely intuitive. Drawings and gouaches are family and friends, and scenes from his everyday made by LeWitt’s hand alone whereas structures life in Southampton, New York, and Penobscot and wall drawings are comprised of instructions Bay, Maine. Today Porter is widely considered to be for others to execute. The booth will feature Untitled, (10 x 10 x 1) an important one of America’s most influential artists of the 10-foot painted aluminum structure. Surrounding this will be all manner of paper works postwar period. The installation celebrates the - working drawings, finished drawings, and gouaches made by LeWitt between 1967 and 2003. aesthetic differences between Porter and the artists Sol LeWitt Horizontal Bands (More or Less), 2005, gouache on paper, 27 x 63 in. of his generation. Fairfield Porter Katie in an Armchair, 1954, oil on canvas, 65 ½ x 46 in.
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sean kelly gallery hans p. kraus jr, inc. Kehinde Wiley Gustave Le Gray Sean Kelly Gallery presents eight new portraits by New Hans P. Kraus Jr. Inc presents Gustave York-based artist Kehinde Wiley. Wiley engages the signs Le Gray. Trained as a painter, Le Gray and visual rhetoric of the heroic, powerful, majestic, and became an innovator in photographic sublime in his representation of urban black men found processes by the late 1840s, and created throughout the world. In a new series of intimately scaled some of the most compelling images in portraits, the artist mines the visual language and gestures the early years of photography. His of 15th century Russian icons. The subjects are presented exceptional vision is reflected in land- in Wiley’s signature ornate frames – in this case, architec- scapes, seascapes and architectural tonic and gilded like their Byzantine forebears. The studies. The works for which Le Gray is models for these paintings have been cast from the streets most celebrated, however, are his seascapes that brought him immediate international of New York City. recognition for their technical and artistic achievement. 2 Kehinde Wiley St. Gregory Palamas, 22k gold leaf and oil on wood panel, Gustav Le Gray Forest Crossroads, Fontainebleau, 1852, salt print from a paper negative, 10 ¾x 14 ⁄3 in 40 x 24 x 2 in. Courtesy the Artist and Sean Kelly, New York
galerie lelong lennon, weinberg Petah Coyne: The Unconsoled H. C. Westermann Galerie Lelong presents Petah Coyne’s The In celebration of its twenty-fifth Unconsoled. This experiential installation includes anniversary next year, Lennon, Weinberg four unique standing screens and a black chandelier will exhibit a solo presentation of H.C. in which Coyne employs her signature use of Westermann, whose retrospective the wax-dipped flowers and taxidermy birds. The gallery opened with. We will present Unconsoled takes its title from the Kazuo Ishiguro several major sculptures along with a rare novel in which the protagonist is attempting to live and important early painting. Addition- a life of ease but is presented with challenges with ally on view will be a selection of every door opened. Coyne’s installation evokes the museum quality ink and watercolor feeling of a lush garden where the viewer is invited drawings that have been retained by the in to explore coexisting forces of beauty, and the estate for many years. deeper, and sometimes darker meanings, hidden H.C. Westermann Untitled (Blind Man), 1972, ink and watercolor on paper, 22 x 30 in. beneath the surface. Petah Coyne Untitled #1388 (Unconsoled), 2013–14, (detail).
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luhring augustine anthony meier fine arts Philip Taaffe Michael Wetzel Luhring Augustine is pleased to present an exhibition by Anthony Meier Fine Arts presents a selection of new Philip Taaffe. In this body of new work, Taaffe extends paintings by New York artist Michael Wetzel. many of the themes and subjects explored by the artist Wetzel’s sensuously layered works place standing and in recent years, such as the combination of lyrical seated female figures in fantasy locations determined abstraction with formal structure, and the delicate by the artist. Hovering between abstraction and counterbalance between internal and external forces. representation, the loosely painted figures are set Generative forms inspired by botany, biology, and against spatially ambiguous backgrounds of various geological strata evidencing accretion and accumulation motifs and patterns that together form an anachronistic are starting points for Taaffe’s inimitable choreography presentation of the traditional portrait. of painterly processes and innovation. Michael Wetzel Fountainbleau IV, 2012–2013, oil, wax, charcoal, ash, Philip Taaffe Imaginary Garden with Seed Clusters, 2013, mixed media on and pigment on canvas, 84 x 72 in.
7 7 canvas, 97 ⁄8 x 61 ⁄8 in. Courtesy the Artist and Lurhing Augustine, New York.
metro pictures Laurence miller gallery Sara VanDerBeek Toshio Shibata Metro Pictures presents Sara VanDerBeek. Laurence Miller Gallery presents a VanDerBeek’s most recent bodies of work relate one-person installation of landscape to cities, such as Detroit and Baltimore, which photographs by Toshio Shibata. Shibata’s have personal, historical, or political meaning for highly abstract, yet intricate photographs the artist, as well as distinct urban features. These of canals, dams and sleuces have been projects consider cities through material and recognized around the world as among the momentum, with the resulting works approaching most lyrical documents of man’s continual each site’s core spirit. For her solo presentation battle with nature. They are a synthesis of VanDerBeek continues this effort, engaging the traditional Japanese landscape perspective, city as a physical site and a system undergoing early 20th century abstraction, and a contemporary point of view towards nature. The continuous change. The resulting photographs presentation will include black and white prints from 1996–2006 along-side recent works will be a mixture of VanDerBeek’s experience of produced in color. Cleveland¹s landscape and cultural monuments Toshio Shibata Okawa, Japan, 2007, type-C print, 40 x 50 in. © Toshio Shibata. Courtesy Laurence Miller Gallery. within a range of material and cultural shifts Sara VanDerBeek Untitled, 2014. Courtesy the Artist and Metro Pictures, New York. { 6 } thethe artart showshow THE ART SHOW 2014 HIGHLIGHTS: SOLO SHOWS
robert miller gallery mitchell-innes & nash Lee Krasner Sir Anthony Caro Robert Miller Gallery is pleased to present an Mitchell-Innes & Nash is pleased to exhibition of collage works by Lee Krasner. announce a solo booth of work by Sir The presentation spans the early 1950s through Anthony Caro. Sir Anthony was a ground- to the final known work in the artist’s oeuvre, breaking British sculptor who pioneered 1984’s Untitled. On view are works which the practice of liberating sculpture from the repurpose her own, and in the case of Collage pedestal, pushing the limits of sculptural of 1955, the work of her husband Jackson abstraction and introducing painted Pollock. The collages are some of the artist’s surfaces. In commemoration of his death most radical and important contributions, last year, Mitchell-Innes & Nash plans to opening up an essential conversation about exhibit important works spanning his entire career, highlighting his principle the possibility and expansion of painting. contributions to sculpture. Lee Krasner Study for Mosaic at No. 2 Broadway, New York Anthony Caro Table Piece LXXVI, 1969, steel varnished, 22 ¼ x 47 ¼x 3¾ in (Broad Street Entrance), 1959, oil and duck cloth collage on canvas, 36 x 36 in. © 2013 Pollack-Krasner Foundation / Artists Rights Society (ARS), New York.
david nolan gallery p•p•o•w Gavin Turk Martha Wilson David Nolan Gallery presents Gavin Turk, a British P∙P∙O∙W presents solo booth of rare, never before born, international artist. He has pioneered many exhibited historical works, vintage photographs, ephemera forms of contemporary sculpture now taken for and films by Martha Wilson that highlight the four granted, including the painted bronze, the wax- seminal years she spent in Halifax, Nova Scotia. From work, the recycled art-historical icon and the use of 1970–1974, her performance, video, photography and text rubbish in art. The works exhibited reflect these work investigated the self, as well as self-perception, various concerns: items such as an apple core or a through physical and cultural lenses. All of the works black garbage bag reveal Turk’s preoccupation with from this period were created in Halifax where Wilson the detritus of urban life but also call attention to first made work as a reaction to marginalization by the his artistic skill. Cast in bronze, these meticulously male-dominated art school environment. painted objects raise questions about perception Martha Wilson Painted Lady, 1972–72, color photograph and type on card, and authenticity. 12 ¾ x 10 ¾ in. Gavin Turk Whaam!, 2013, exhaust emission on paper, mounted on
3 linen, 30 ¾ x 23 ⁄8in.
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pace gallery pace/macgill gallery James Turrell Irving Penn: Earthly Bodies Pace Gallery is honored to present a solo Pace/MacGill Gallery will present Earthly Bodies, exhibition of James Turrell. Featuring eight a one-person show of Irving Penn’s nudes from dichromate reflection holograms created between 1949-50. His nudes explore the beauty found in 2006 and 2008, the gallery’s presentation highlights the physicality of the female form and recall the Turrell’s more than 30-year exploration of light and earliest depictions of the human figure. Taken the limits of visual perception. Pace’s presentation from close viewpoints, the twisted torsos and coincides with an unprecedented three-venue stretched bodies of Penn’s corpulent models are exhibition of the artist’s work presented by the at once abstract sculptural forms and bare, Solomon R. Guggenheim Museum in New York, sensual beings. Considered “the major artistic Los Angeles County Museum of Art and Museum experience” of Penn’s life, the images still stand of Fine Arts, Houston. as a testament to his aesthetic invention and technical achievement sixty-five years later. James Turrell Untitles (XXV E), 2008, reflection hologram, Irving Penn Nude No. 62, New York, 1949-50, vintage gelatin silver print, 15 5/8 x 15 in. © The Irving Penn Foundation. 7 23½ x 16 ⁄8 in. © James Turrell. Photo Courtesy Pace Gallery. Courtesy Pace/MacGill Gallery, New York.
petzel gallery yancey richardson Gallery Dana Schutz Zanele Muholi Petzel Gallery presents a curated solo-booth of Yancey Richardson presents a solo exhibition of new works on paper by gallery artist Dana internationally acclaimed South African artist Schutz. Schutz’ large ink on paper and her Zanele Muholi’s Faces and Phases, an ongoing series charcoal drawings (some measuring 6 x 8 feet) of portraits of black lesbians and transgender have been a mainstay of her practice since her individuals Muholi has met in South Africa and 2011 exhibition at the Metropolitan Opera in beyond. The portraits function as a visual statement New York. The works on paper are counterparts as well as an archive, presenting and preserving an to her oil paintings. This practice allows the artist often abused and ostracized community through to reinvent already existing works by experimenting visual records. with composition and play with new subject Zanele Muholi Charmail Carrol, 2011 matter that will inform later paintings Dana Schutz Getting Dressed All At Once 2, 2013, charcoal on paper, 36 x 24 in.
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salon 94 carl solway gallery Laurie Simmons Ann Hamilton Salon 94 will feature a selection of large-scale Carl Solway Gallery is please to present an exhibit photographs from Laurie Simmons’ landmark by Ann Hamilton. In residence for the duration series, Walking and Lying Objects, many which of the fair, Hamilton will photograph visitors have never been seen before. This series brings through a membrane that registers in focus only together Simmons’ interest in the confrontation what directly touches its surface. This shallow of the real with the imagined, all staged within her focus, a consequence of the visual qualities of the trademark chiaroscuro aesthetic of studio lighting membrane, emphasizes the point of contact and with shadows, contrast and play of scale. The continues Hamilton’s interest in finding visual work is both theatrical and poignant, highlighting forms for tactile experience. The membrane the fictional nature of photography and its makes a physical condition where you can hear tenuous relationship to the world it depicts. but cannot see, and so are suspended in a space unself-consious of the camera’s presence. Laurie Simmons Walking Cake II (Color), 1989, cibachrome print, All fair attendees are invited to participate. 64 x 46 in. Edition AP/1/2 with AP/Edition of 10. Courtesy the Artist and Salon 94, New York. Ann Hamilton Untitled, 2013, archival pigment print. Courtesy Ann Hamilton Studio.
sperone westwater weinstein gallery Charles LeDray: Seven New Works Vera Lutter Sperone Westwater is pleased to present an Weinstein Gallery presents 16 exhibition of seven new works by Charles photographs of New York by LeDray, the New York based artist known for his internationally acclaimed German powerfully resonant objects made of fabric, clay photographer Vera Lutter. Each and bone. The seven works exhibited are SHE, photograph is unique in number. The Sachet, Picnic, Daisy Chain, Rainbow, Kitchenette, and images include haunting scenes of Assemblyman. SHE, an array of bikinis, pajamas Central Park trees, vast New York City and underthings suspended from a looping brass skylines, brightly lit Times square, as bracket, forcefully engages aspects of beauty and well as one large photograph from her artifice. Picnic, an expansive feast laid out on highly regarded Pepsi Cola series. concrete blocks, a riot of pattern and color and Vera Lutter Pepsi Cola, Long Island City, IV C: May 22, 1998, 1998, gelatin silver print, 36 x 55 in. symmetry. 3 Charles LeDray Picnic, 2005–13, mixed media, 31 ½ x 28 ¼ x 5 ⁄8 in
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michael werner gallery david zwirner gallery Per Kirkeby Ad Reinhardt Michael Werner Gallery is pleased to David Zwirner will exhibit a rare presenta- present recent works on canvas and tion of six works on paper from 1960 by Masonite by Per Kirkeby. These American artist Ad Reinhardt. These unique paintings explore the artist’s lifelong works, executed in oil, demonstrate the interest in the relationships between compositional and chromatic variations that nature and abstraction, landscape and Reinhardt would pursue in his signature architecture, all originating from his “black” paintings, specifically his “ultimate” early education and career as a geologist. 60 x 60 inch canvases to which he would Per Kirkeby has been the subject of devote the remainder of his life. These are numerous exhibitions throughout the only known works on paper of this kind Europe and the United States. that explore the six possible combinations Per Kirkeby Untitled, 2013, oil on canvas, of color within the square format. 78 ¾ x 78 ¾in. Courtesy Michael Werner Gallery, Ad Reinhardt Number 2, 1960, graphite and oil on paper,
1 New York/London. 26 ¼ x 20 ⁄8 in. Photo by Tim Nighswander. © Estate of Ad Reinhardt/ Artists Right Society (ARS), New York. Courtesy David Zwirner, New York/London.
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Acquavella Galleries, Inc. Adler & Conkright Fine Art Impressionist, Modern and Numbers + Letters Contemporary Masters As a tie into the Guggenheim Museum Acquavella Galleries is pleased to present exhibition on Italian Futurism, Adler & Conkright a selection of Impressionist, modern, and Fine Art will be featuring a group of works from contemporary masters. In addition to “Words-in-Freedom.” In these drawings, words contemporary masters that the gallery are broken up and the freed letters form the represents, such as James Rosenquist, Wayne images and the messages. Many of these works Thiebaud, Enoc Perez, and Damian Loeb, come from the artists at the time they were Acquavella plans to exhibit works by important fighting in World War I and bear imagery related Impressionist and modern artists. Works on view will include major figures of the 19th, 20th, to the battles they were fighting and their life in and 21st centuries such as Picasso, Matisse, Monet, Degas, Freud, Calder, and Giacometti. the trenches. They are graphic and imaginative. Andy Warhol Gun, 1981–82, synthetic polymer paint and silkscreen ink on canvas, 16 x 20 in. © 2014 The Andy Warhol Fortunato Depero Paesaggio Guerresco Numerico (Numeral Warlike Landscape), 1915, watercolor and pencil on paper Foundation for the Visual Arts, Inc./Artists Rights Society, New York. Courtesy Acquavella Galleries. laid down on card, 16 ½x 19 ¾ in.
Brooke Alexander, Inc. john berggruen gallery Albers, Artschwager, Baldessari, Guston, Holzer, Johns, Judd, Selected Works: Close, di Suvero, Diebenkorn, Price, Pettibon, Rauschenberg, and Rosenquist Park, Rickey, Ruscha, Serra, and Thiebaud Brooke Alexander, Inc. presents Josef Albers, Richard John Berggruen Gallery presents a variety of Artschwager, John Baldessari, Philip Guston, Jenny Holzer, significant twentieth-century paintings including Jasper Johns, Donald Judd, Ken Price, Raymond Pettibon, quintessential examples by Richard Diebenkorn Robert Rauschenberg, and James Rosenquist, among others. and Wayne Thiebaud. The exhibition will also Donald Judd Untitled (S. #243-246), 1991/94, suite of four woodcuts printed in include key sculptural works by Mark di Suvero black (horizontal), 26¼ x 38 ½ in. Edition of 15. and George Rickey. David Park Boy in Striped Shirt, 1959, oil on canvas, 50 x 36in.
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Bortolami Cheim & Read Daniel Buren and Richard Aldrich Louise Bourgeois and Gaston Lachaise Bortolami presents work by Daniel Buren and Rich- Cheim & Read presents an exhibition juxtaposing ard Aldrich. The booth features a Buren installation, two important French-born sculptors of the which covers the outside wall of the booth with twentieth century, Louise Bourgeois and Gaston his iconic stripes. Fabricated in zinc, the stripes make Lachaise. Comprised of sculptures and drawings, the façade of the booth alternatingly reflective and both artists demonstrated through their art opaque. Additionally, the gallery will exhibit a striped obsessive interests in sexuality and the human cotton piece, hand-painted with acrylic from 1973. body. Bourgeois admired Lachaise and wrote Aldrich will present new paintings that shift between in an Artforum article in 1992, “His sculptures compositional sparseness and painterly lushness. are the greatest compliment to women…[I]t is a Grounded in a conceptual mode of painting, Aldrich compliment to grant the sex object such power employs distinct stylistic tropes to reveal underlying that it can trigger such passion.” connections within his body of work. Gaston Lachaise Abstract Figure (Acrobat Woman), 1934, bronze, Richard Aldrich Ahh, Bonnard, 2012, oil, wax, enamel, pencil, charcoal, 16 ½ x 10 x 11 ¼ in. Courtesy The Lachaise Foundation and and mixed media on cut muslin, 84 x 58 in. Courtesy Bortalami, New York Cheim & Read, New York.
Conner•Rosenkranz LLC Richard L. Feigen & Co. Manship, Diederich, and Hiram Powers Leger, Miró, Warhol, Rosenquist, & Ray Johnson Conner • Rosenkranz presents a survey of Richard L. Feigen & Co. exhibits a carefully mid-19th thru early 20th century American curated group of collages, drawings, objects and sculpture in bronze, marble, iron, terra cotta, paintings by surrealist, abstract expressionist, and stone and wood. Highlights include Hermon pop artists, who relate to each other and to a few Atkins MacNeil’s Sun Vow and Jo Davidson’s contemporary “kin.” We will include important youthful, romantic direct carving, Eve. Augustus works by Joseph Cornell, Jean Dubuffet, Max Saint-Gaudens is represented by a pair of iconic Ernst, Öyvind Fahlström, JESS, Claes Oldenburg, bas relief portraits of fellow artists, Francis David Millet and Jules Bastien-Lepage. A unique an installation by Charles Simonds, and a group of life-size marble, Leda, represents New York City luminary Paul Manship and two Rose never-before-seen major collages by Ray Johnson. Valley furniture designs by William Lightfoot Price will offer a decorative counter-balance Charles Simonds Two Streams, 2011, metal, polyurethane, plaster, to the sculpture on view. paper and clay, 37 x 38 x 37 in. Jo Davidson Eve, 1907, marble, 11 ¾ x 17 ¼ x 10 ¾ in. Signed: J. Davidson (top left rear of base).
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Debra Force Fine Art, Inc. James Goodman Gallery Modern Life in America Modern and Contemporary Masters: Paintings, Debra Force Fine Art exhibits a selection of Sculptures and Works on Paper important paintings, sculpture, and works on paper James Goodman Gallery will examine the artist’s process by 20th-century artists exploring Modern Life in America. with a curated exhibition of drawings and sculptures Scenes of social commentary, urbanscapes, and by European and American Masters. Some preparatory leisure will show various aspects of American life as studies only hint at the fully realized works, while others, interpreted by a diverse group of artists during this maquettes for example, function as completed studies in exciting period of social, economic, and artistic change. their own right, but each piece will represent an integral Featured artists include George Luks, Alice Neel, Max step in the artist’s journey. Weber, Milton Avery, Thomas Hart Benton, Grace Henri Matisse Femme assise á la guitare, 1921–23, charcoal on paper, Hartigan, Marsden Hartley, Yasuo Kuniyoshi, Stanton 18 ½ x 12 ¼ in. MacDonald-Wright, Guy Pene du Bois, and Everett Shinn, among others. Max Weber New York-Bridges, Buildings, and Subways, 1912, pastel and charcoal on paper, 24 ¾ x 18 ½ in. Signed Max Weber (lower right).
Howard Greenberg Gallery Nancy Hoffman Gallery Architecturally Speaking Ornament and Ornamentation Howard Greenberg Gallery exhibits Nancy Hoffman Gallery presents two artists photographs by some of the most important whose work addresses the conversation of artists in the medium including: Berenice Ornament/ Ornamentation: Jesse Small, a Abbott, Edward Burtynsky, Walker Evans, sculptor, and Robert Zakanitch, a painter. William Klein, Charles Marville, Joel Both artists have explored ornament in Meyerowitz, Edward Steichen, Alfred their work in completely different ways. Stieglitz and Karl Struss, among others. Small’s dialogue engages ornamentation Be it through a fragment of a building, a East-West, ancient-modern, incorporating reflection in a glass pane, light bouncing images of modern times and technologies. off a brick wall, a view through a curtained window, a canyon between skyscrapers, the Zakanitch was one of the Pattern and Decoration painters who came to prominence photographs we are exhibiting will explore the depth and complexity of the relationship in the 70’s. His newest body of work addresses head-on the issue of ornament and between photography and architecture. ornamentation, a subject that that touches every aspect of daily life. 7 Bernice Abbott Fifth Avenue Houses, 1936, gelatin silver print, 10 x 7 ⁄8 in. © Bernice Abbott Estate. Jesse Small Blue Meanie, 2012, steel, 48 x 84 in. Courtesy Howard Greenberg Gallery
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June Kelly Gallery Barbara Krakow Gallery The Power of Color Artschwager, Barry, Chamberlain, LeWitt, The June Kelly Gallery will focus on artists McCollum, Oldenburg, Opie, Porter, Sandback, who use color in innovative, imaginative and Segal, and others seductive forms and combinations. The paintings Barbara Krakow Gallery is pleased to present an show the artists’ interest in inventing unusual exhibition focused on sculpture. Several of the artists color relationships that explore and capture an whose works will be on display fall into specific art intensely active and sensuous imagery. The colors movements, but even those artists’ works cannot sing while coalescing in a harmonious whole. be pigeonholed just within those categories. The Moe Brooker Carelessly Exact III, 2012, mixed media and works force one to see the cross pollination not oil on canvas, 74 x 74 in. only between these artists, but by several others who are aware of the vocabularies of these movements but expand out and beyond, so as to create new and unique work that is also rooted in art history. Julian Opie Delphine 1, 2013, paint on resin (corian base) unique, 18 x 10 ¾ x 14 ¼ in
Kraushaar Galleries Lawrence Markey Intimate works by American Artists from the First Works from the 1960’s and 70’s to Today Half of the 20th Century Lawrence Markey will present historical works Kraushaar Galleries presents intimate works by artists including James Bishop, Nancy by American Artists from the first half of the Rexroth and Richard Tuttle alongside more 20th century. Featured works include Skaters, recent works by artists which include Mel circa 1914, William Glackens’ oil sketch for an Bochner and Suzan Frecon. A selection of unrealized painting; Marsden Hartley’s elegant rarely seen photographs from the 1970’s by silverpoint drawings Peppers, 1927 and Plums Nancy Rexroth will be exhibited. on a White Cloth, 1927; and First Theme, James Bishop Blue Red & Olive, 1964, oil on canvas, 59 x 59 in. #246, circa 1940 which is representative of Courtesy Lawrence Markey, San Antonio. Burgoyne Diller’s unique expression of contemplative art and an anticipation for the Minimal Art that will follow. Marsden Hartley Peppers, 1927, silverpoint on paper, 17 x 20 ¼ in.
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Mary-Anne Martin/Fine Art Barbara Mathes Gallery Paintings, drawings and sculpture by 20th Century The Automobile Mexican and Latin American artists, emphasizing Barbara Mathes Gallery features art that “Surrealism in Mexico.” examines that great symbol of American Mary Anne Martin Fine Art presents an installation mobility—the automobile. The booth will of paintings by European Surrealists Leonora have a D’Arcangelo collage that depicts his Carrington, Olga Costa, Alice Rahon and her signature motif—the open road. Ed Ruscha, husband, Wolfgang Paalen, who fled their homelands depicted the automobile’s transformation during the Spanish Civil War and WW II and of the American landscape in his paintings emigrated to Mexico in the early 1940s. We will and prints of Standard gas stations and John also bring a selection of sculptures by Panamanian Chamberlain’s crushed metal sculptures at once contemporary artist, Isabel De Obaldía, whose evoke the gestural exuberance of Abstract sand cast glass “Metates,” inspired by Pre-Columbian Expressionism and the scrapheap of consumer society. The booth will also feature a grinding stones, gives contemporary form to thoughtfully curated selection of modern and contemporary art from the gallery’s inventory. ancient prototypes. Allan D’Arcangelo Double Overpass #2, 1960, acrylic, graphite, and photograph collage in canvas, 20 x 24 in. 5 Gunther Gerzso Aparición, 1960, oil on masonite, 31 ½ x 19 /8 in
McKee Gallery Menconi + Schoelkopf Vija Celmins, Marcel Eichner, Philip Guston, Fine Art LLC Richard Learoyd, Leonid Lerman, Harvey Twelve American Modernist Masterworks Quaytman, Jeanne Silverthorne, William Tucker, Menconi + Schoelkopf presents Twelve American Lucy Williams, and Daisy Youngblood Modernist Masterworks. On view will be a carefully The McKee Gallery presents a variety of selected group of important paintings and sculp- notable paintings as well as works on paper, tures from early American Modernism to high original photographs, and sculpture by: Vija late modernist masterpieces approaching mid- Celmins, Marcel Eichner, Philip Guston, century. The Stieglitz Circle will be represented Richard Learoyd, Leonid Lerman, Harvey by a Georgia O’Keeffe in a rarely seen original Quaytman, Jeanne Silverthorne, William frame and resonant works by John Marin, Joseph Tucker, Lucy Williams, and Daisy Youngblood. Stella, and others; Precisionism and other modernist offshoots will be represented by Philip Guston Untitled (Finger & Book), 1969, acrylic on panel, important canvases by Ralston Crawford and Fairfield Porter. 30 x 32 in Joseph Stella The Swan, 1924, oil on canvas, 45 x 45 in.
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Mnuchin Gallery Pace Prints & Pace Primitive Sixties Minimalism 20th Century Prints Mnuchin Gallery presents sixties Pace Prints presents a selection of 20th Minimalism with objects by Carl Andre, century prints created by the artist as a series Donald Judd, Agnes Martin, Robert or group of images to explore a specific Ryman and Sol LeWitt. theme in the artist’s oeuvre. The installation Donald Judd Unitled (DSS 132), 1968, purple lacquer will include ten portraits of Picasso’s muses, 5/ 5/ on galvanized iron, 5 x 25 8 x 8 8 in prints from Matisse’s Jazz portfolio, woodcuts by Donald Judd, etchings and aquatints by Sol LeWitt, and six unique trials proofs by Robert Ryman. Pace Primitive will exhibit examples of African sculpture that resonate with the art of Picasso and Matisse. A Lwalwa mask, a M’bole Figure, and multiple pairs of Yoruba Ibeji twins will be highlighted. 7 1 Pablo Picasso Nature morte au verre sous la lampe, 1962, linocut printed in color, 20 /8 x 25 /8 in. Edition of 50
James Reinish & Associates, Inc. Julie Saul Gallery Modes of Modernism: Realism and Abstraction in 20th Just Looking Century American Art Julie Saul Gallery presents Just Looking, which James Reinish & Associates, Inc. explores two contrasting explores the voyeuristic relationship between modes of artistic expression in 20th century modernist three photographers and their models. Nikolay American art. Artists such as Georgia O’Keeffe, Arthur Dove Bakharev made black and white photographs and Marsden Hartley established the modernist aesthetic of individuals and groups posed in nature and blurred the lines between realism and abstraction. and domestic interiors during the era when it Abstract works from the 1930s and 40s, including a was forbidden. Sarah Anne Johnson records composition by Werner Drewes, are contrasted with prime the sexual engagements of her subjects and examples of American regionalism, including two watercolors explores the psychology of intimacy through by Thomas Hart Benton. Post-war abstract works of the the application of various processes of 1950s and 60s by Robert Motherwell, Ad Reinhardt and burning, glitter and splattering with paint. others are considered alongside more objective works by Arne Svenson makes photographs that are painterly, elegant and classical using a Milton Avery and Fairfield Porter. telephoto lens to record his neighbors across the street. Elie Nadelman Seated Female Figure, 1924, bronze, 47 in . Nikolay Bakharev Relationship #20, 1984-1986, gelatin silver print, 11 ¾ x 11 ¾ in. Edition 7/10.
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Susan Sheehan Gallery Manny Silverman Gallery Post War American Masters: Works on Paper Works from the New School Susan Sheehan Gallery is delighted to exhibit a col- Manny Silverman Gallery focuses on lection of Post-War American prints and works on exhibiting American, abstract art of the Post paper from the 1960s and ‘70s. Two of our most World War II period (also known as the New exciting works, Mark Suginoi Hotel, Beppu and York School). Representing the estates of Afternoon Swimming, are by David Hockney. Mark Norman Bluhm, James Brooks, Edward depicts a friend and travel companion Mark Dugmore, Michael Goldberg, Robert Motherwell, Lancaster during the artist’s first visit to Japan. Richard Pousette-Dart and Emerson Woelffer, Afternoon Swimming is the largest and most colorful we will be featuring works by those artists as of the artist’s iconic California pool lithographs and well as others from the period such as Giorgio represents one of his most dynamic and playful Cavallon, John Graham, Alfred Leslie and iterations in the series. Philip Guston. David Hockney Mark, Suginoi Hotel, Beppu, 1971, colored pencil and ink on paper, 17 x 14 in. Giorgio Cavallon Untitled, 1955, oil on canvas, 42 3/8 x 36 in.
Skarstedt Leslie Tonkonow Condo, Haring, Kelley, Kippenberger, Kruger, Artworks + Projects Sherman, Prince and Warhol Pairs, Groups, and Grids Skarstedt will present iconic painting, Leslie Tonkonow Artworks + Projects presents photography and sculpture from the 1980’s works from the 1960s to the present by Amy Cutler, and 1990’s by contemporary European and Ian Davis, Agnes Denes, Laurel Nakadate, Michelle American artists. Each of the works exhibited Stuart, Robert Watts, and others. Highlights of are some of the most significant examples our presentation will include Agnea Denes’ The from each of the artist’s oeuvre, addressing Debate, featuring two miniature human skeletons themes of autobiographical content, politics, contained with a mirrored Lucite box and El Florido theatricality, and poignant commentary on life and death. by Michelle Stuart, a major work from her series of Cindy Sherman Untitled Film Still #5, 1977, silver gelatin print, 8 x 10 in. Edition 10/10. “scrolls” produced using natural graphite. Agnes Denes The Debate (One Million BC-One Million AD), 1969, electroplated plexiglass, plastic resin on light box, 44 ½ x 15 x 15 in. Courtesy Leslie Tonkonow Artworks + Projects, New York.
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Van Doren Waxter / Washburn Gallery Eleven Rivington Washburn Gallery presents paintings, drawings The Painted Figure and a mosaic by Jackson Pollock installed Van Doren Waxter/Eleven Rivington presents with related Native American works from Richard Diebenkorn (USA) and Jeronimo Elespe the Donald Ellis Gallery to demonstrate the (Spain) both of whom have painted the figure in an cross-cultural influences in Jackson Pollock’s interior. Made in the late 50s through the mid 60s, development. Also shown are early works by Diebenkorn worked from the model in ink wash, Leon Polk Smith from the 1940s that charcoal, watercolor and gouache attempting to cap- demonstrate his Indian heritage. His parents ture a moment of personal repose. Jeronimo Elespe’s were Cherokee and Smith grew up with work is a focused meditation on the artist’s life as he Chickasaw and Choctaw tribes. creates small-scaled pictures of interiors and por- traits of his wife, family and friends. The works of Leon Polk Smith Untitled, 1945, colored paper collage, Diebenkorn and Elespe illuminate ideas of observation, intimacy and contemplation. 13½ x 11 in Richard Diebenkorn Untitled, 1963-66, ink and crayon on paper, 17x14 in. Courtesy the Richard Diebenkorn Foundation and Van Doren Waxter.
Pavel Zoubok Gallery Women Collagists Pavel Zoubok Gallery presents Women Collagists. Employing a wide range of visual and material strategies, each of these artists raises important questions about the unique connection between collage and women’s experience. While each of the artists represented here owes much to the achievements of the Feminist movement, their identities as artists reflect a broad spectrum of attitudes and experiences, ranging from deeply political engagement to an expressed ambivalence Lynda Benglis Drawing #5A India, 1979, drawing and collage, thread, feathers, paper tissue on paper, 29 ½ x 34 ½ in.
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FACT SHEET
ART DEALERS ASSOCIATION OF AMERICA (ADAA) ORGANIZES THE 26th ANNUAL ART SHOW TO BENEFIT HENRY STREET SETTLEMENT MARCH 5 – 9, 2014
EVENT:
Seventy-two of the nation’s leading art galleries will 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 will offer 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. For further information, the public can call the ADAA at 212-488-5535.
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 5 through Sunday, March 9, 2014. Hours are as follows:
Wednesday, March 6: 12:00 p.m. – 8:00 p.m. Thursday, March 7: 12:00 p.m. – 8:00 p.m. Friday, March 8: 12:00 p.m. – 8:00 p.m. Saturday, March 9: 12:00 p.m. – 7:00 p.m. Sunday, March 10: 12:00 p.m. – 5:00 p.m.
ADMISSION:
Admission is $25 per day. All proceeds from ticket sales benefit Henry Street Settlement. Tickets are available at the door.
! ! COLLECTORS’ FORUM: This year, we are excited to announce Adam Gopnik, contributing writer for The New Yorker, will be giving a Keynote Lecture on "What Makes The Humanities Human: Why Art Is More Than An Investment”. In this talk, Adam Gopnik will ask why anyone still needs the fine arts and the liberal arts, too, in an age that seems so narrowly devoted to commerce and technological innovation. What do the arts give us that the sciences can't? And how as people living within the art market can we justify what we have to do for a living with what we dream of doing with our lives?
Adam Gopnik: “What Makes The Humanities Human” Friday, March 7, 2014 6:00 pm The Tiffany Room in The Park Avenue Armory 643 Park Ave, NYC, at 67th Street
For more information or to reserve a seat visit www.artdealers.org/events. GALA PREVIEW:
To inaugurate The Art Show 2014, a Gala Benefit Preview will be held on Tuesday, March 4 from 5:30 p.m. to 9:30 p.m. and will benefit Henry Street Settlement, one of New York City’s best-known and most effective social services and arts agencies. For advance ticket purchases or 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.
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, FITZ & CO T: 212-627-1455 x254 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 Abrons Arts Center’s celebrated performances, exhibits, residencies and education programs. 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: Stephanie Gordon Henry Street Settlement 265 Henry Street New York, NY 10002 (212) 766-9200, ext. 247 [email protected]