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Morrison gallery 8 Old Barn Rd. Kent, Connecticut 06757. 860.927.4501. www.morrisongallery.com WOLF KAHN BIOGRAPHY 1927 Born in Stuttgart, Germany 1940 Arrived in United States 1945 Education: High School of Music and Art, NYC 1947 Studied at Hans Hofmann School of Fine Art 1951 Education: Bachelor of Arts, University of Chicago, Chicago, IL 1966-1967 John Simon Guggenheim Fellowship 1980 Elected to membership, National Board of the College Art Association 1982 Elected to Board, National Academy of Design 1984 Elected to membership, American Academy and Institute of Arts & Letters 1998 Lifetime Achievement Award, Vermont Council on the Arts EXHIBITIONS 2009 Morrison Gallery Pastels Kent, Connecticut 2009 Ameringer & Yohe Fine Art New York 2007 Wolf Kahn Oils & Pastels, Morrison Gallery Kent, CT 2004 Wolf Kahn: Recent Paintings, Ameringer & Yohe Fine Art, New York 2003 Wolf Kahn: Continuity & Change, Paintings and Works on Paper 1958 - 66, Ameringer & Yohe Fine Art, New York 2002 Ameringer/Howard/Yohe Fine Art, Boca Raton, FL 2002 Beadleston Gallery, New York 2001 Galerie Brockstedt, Hamburg, Germany 2001 Connecticut Graphic Arts Center, Norwalk, CT 2001 Drabinsky & Friedland Gallery, Toronto, ONT 2001 Marianne Friedland Gallery, Naples, FL 2001 Museum fur Kunst und Gewerbe, Hamburg, Germany 2001 Reynolds Gallery, Richmond, VA 2001 Thomas Segal Gallery, Baltimore, MD 2001 Stremmel Gallery, Reno, NV 2000 Addison/Ripley Gallery, Washington, D.C. 2000 Beadleston Gallery, New York 2000 Kunsthaus Buhler, Stuttgart, Germany 2000 Fifty Years of Pastels, Jerald Melberg Gallery, Charlotte, NC WOLF KAHN, II EXHIBITIONS, cont’d 2000 Museum Für Kunst und Gewerbe Hamburg, Germany 1999 Morris Museum of Art Augusta, GA 1999 Works on Paper, New York, NY 1999 Art Palm Beach '99, Palm Beach, FL 1999 Jerald Melberg Gallery Charleston, SC 1998 Centennial Exhibition, American Academy of Arts & Letters NY 1997 The Art of Giving, Beadleston Gallery NY 1997 Kansas State University Manhattan, KS 1997 New Britain Museum of American Art New Britain, CT 1996 Boca Raton Museum of Art Boca Raton, FL 1996 Rediscovering the Landscapes of the Americas, Gerald Peters Gallery Santa Fe, NM (& travelling to other venues) 1995 Thomas Segal Gallery Boston, MA 1995 Stremmel Gallery Reno, NV 1995 Grace Borgenicht Gallery NYC 1995 Carone Gallery Ft. Lauderdale, FL 1995 Marianne Friedland Gallery Naples, FL 1995 Gallery 30 Burlingame, CA 1995 Walker Kornbluth Gallery Fairlawn, NJ 1995 Morgan Gallery Kansas City, MO 1994 Neuberger Museum of Art, SUNY Purchase, NY 1994 Art 25, Basel, Switzerland 1994 The Columbus Museum Columbus, GA 1994 Cove Gallery Wellfleet, MA 1993 Foire Internationale d'Art Contemporain, Paris, France .

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Wolf Kahn & Emily Mason
Wolf Kahn & Emily Mason A rare opportunity to compare and contrast the work of two very different painters By David Ebony Emily Mason, Surpassing Ermine, 1985–86. Oil on canvas, 60 x 52 inches. Courtesy the Emily Mason and Alice Trumbull Mason Foundation and Miles McEnery Gallery, New York. Artists, lovers, life-partners, art-world rivals, benefactors, and luminaries, Emily Mason (1932–2019) and Wolf Kahn (1927–2020) were all of these things—and more. Miles McEnery Gallery has devoted each of its two spaces to the first posthumous solo gallery exhibitions for the couple, who died within months of each other after more than sixty years of marriage. The shows offer a rare opportunity to compare and contrast the work of two very different painters—one abstract and the other figurative—who shared a passion for vibrant color, the bucolic landscapes of Vermont and Italy, and who both aimed in their works for pure, soul-baring expressivity. Filling the larger gallery at 525 West 22nd street, some 26, mostly large major works by Kahn feature his trademark landscapes with brilliant color contrasts and lively gestural touches. Despite deteriorating eyesight and other physical ailments in his last years, Kahn managed to produce some remarkably intense composi- 1 Wolf Kahn, Woodland Density, 2019, Oil on canvas, 52 x 52 inches. Emily Mason, The Bullock Farm, 1987, Oil on canvas, 52 x 42 inches. Courtesy the artist and Miles McEnery Gallery, New York. Courtesy the Emily Mason and Alice Trumbull Mason Foundation and Miles McEnery Gallery, New York. tions, such as Woodland Density (2019), which shows an imposing row of blaring orange tree trunks set against 1970s on, when she acquired her own studio space on West 20th Street in Manhattan after sharing a work a steel-blue background.
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Inside This Issue
the Bullfrom johnny cake hill | etinspring 2020 Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets.
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Modern & Contemporary Art (1666) Lot 29
Modern & Contemporary Art (1666) May 14, 2020 EDT, ONLINE ONLY Lot 29 Estimate: $10000 - $15000 (plus Buyer's Premium) Wolf Kahn (American/German, 1927-2020) Behind Sam's (Putney, VT) Signed bottom left, inscribed #53-1976 and titled verso, oil on canvas. Executed in 1976. 14 x 28 in. (35.6 x 71.1cm) Provenance: Private Collection, New York. NOTE: “Wolf Kahn is to southern Vermont what Winslow Homer is to the coast of Maine, Georgia O’Keeffe to the New Mexico high desert and Claude Monet to the French countryside,” Brattleboro Museum & Art Center director Danny Lichtenfeld said when Kahn won the U.S. State Department’s International Medal of Arts in 2017. “Wolf’s depictions of our barns, fields, trees and hillsides form the prevailing visual impression of our area for people all around the world.” [1] Born in Stuttgart, Germany, Wolf Kahn immigrated to the United States by way of England in 1939 after his grandmother helped him escape Germany via the Kindertransport program. Under the GI Bill, he studied with Abstract Expressionist painter Hans Hofmann, and later worked as Hofmann’s studio assistant. After a brief time studying for his Bachelor’s degree at the University of Chicago, Kahn returned to painting full time, and in 1953, enjoyed his first solo exhibition at the Hansa Gallery, a cooperative gallery organized by Kahn and other former students of Hofmann. These early paintings of both interior and exterior scenes drew strong attention from critics and collectors alike, yet Kahn’s focus soon turned primarily to landscapes. Kahn married fellow artist Emily Mason, and the two bought a hillside farm in Vermont in 1968.
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Oral History Interview with Richard Bellamy, 1963
Oral history interview with Richard Bellamy, 1963 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview B: BAKER RB: RICHARD BELLAMY B: I'm about to interview several individuals concerning the Hansa Gallery, which formerly existed in New York City and has for some years been closed. The first individual I'm going to speak to about it is Richard Bellamy, now the director of the Green Gallery. Mr. Bellamy was not associated with the very first days of the Hansa, however, so I'm going to read first, two statements about the origins of the Hansa as a general introduction. One of them is adapted from the Art Student League's News of December 1961. In December 1951 quote, ASix unknown artists all quite young held a joint exhibition of their works in a loft studio at 813 Broadway. The artists were Lester Johnson, Wolf Kahn, John Grillo, Felix Pasilis, Jan Muller and Miles Forst. A813 Broadway@, as this joint cooperation venture was called on a woodcut announcement made by Wolf Kahn, was visited by about 300 artists and two art critics, Thomas B. Hess of Art News and Paul Brach of the Arts Digest. The show led to the founding of the best of the downtown cooperative galleries, the Hansa Gallery. 813 Broadway announced a new interest in figurative painting by a group which had drunk deep at the Pirean springs of abstract expressionism.@ In Dody Muller's account of her husband, Jan's life prefacing the catalogue on Jan Muller, prepared by the Guggenheim Museum for the January, February 1962 exhibition of his works, the statement is made, quote, AIn a sense the 813 Broadway exhibition contained the rudiments of the Hansa Gallery, which was to form on East Twelfth Street and which opened in the autumn of 1952.
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Jennifer Bartlett
P A U L A C O O P E R G A L L E R Y JENNIFER BARTLETT Born: Long Beach, California, 1941 Lives and works in New York, NY Education: Mills College, Oakland, California, BA, 1963 Yale School of Art and Architecture, BFA, 1964 Yale School of Art and Architecture, MFA, 1965 Awards: Fellowship, CAPS (Creative Artists Public Services), 1974 Harris Prize, Art Institute of Chicago, 1976 Lucas Visiting Lecture Award, Carlton College, Northfield, Minnesota, 1979 Brandeis University Creative Arts Award, Waltham, Massachusetts, 1983 American Academy and Institute of Arts and Letters, New York, 1983 Harris Prize and the M.V. Kohnstamm Award, Art Institute of Chicago, 1986 American Institute of Architects Award, New York, 1987 Cultural Laureate, Historic Landmarks Preservation Center, 1999 Lotus club Medal of Merit, 2001 Mary Buckley Endowment Scholarship Honoree, Pratt Institute, 2002 Lifetime Achievement Award, Palm Springs Fine Art Fair, 2014 Instructor: School of Visual Arts, New York, 1972-77 One-Person Exhibitions 1963 Mills College, Oakland, California 1970 119 Spring Street, New York 1971 Jacob's Ladder, Washington, D.C. (with Jack Tworkov) 1972 Reese Paley Gallery, New York 1974 Paula Cooper Gallery, New York Saman Gallery, Genoa, Italy 1975 The Garage, London (with Joel Shapiro) John Doyle Gallery, Chicago Dartmouth College, Hanover, New Hampshire Contemporary Art Center, Cincinnati 1976 Paula Cooper Gallery, New York 1977 Wadsworth Atheneum, Hartford, Connecticut Paula Cooper Gallery, New York 1978 Saman Gallery, Genoa, Italy University
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Resisting Abstract Expressionism December 3, Thursday, 7 P.M
BMAC is open Wednesday through Sundays, 10 a.m. - 4 p.m. Click here to plan your visit. Please note BMAC will be closed November 11 & 12 to setup the 13th Annual LEGO Contest & Exhibit, which will be on view at the Museum starting Friday, November 13 through Monday November 16, 10 a.m.-4 p.m. daily. There will be a virtual awards ceremony on Saturday, November 14, at 5 p.m. BMAC Online Visit About Exhibits Events Education News Support Home Resisting Abstract Expressionism December 3, Thursday, 7 p.m. Curator Karen Wilkin discusses Figuration Never Died: New York Painterly Painting, 1950-1970, which features work by 10 artists who absorbed the lessons of Abstract Expressionism but never abandoned ﬁgurative painting: Robert De Niro, Sr. (1922–2003), Lois Dodd (b. 1927), Jane Freilicher (1924–2014), Paul Georges (1923–2002), Grace Hartigan (1922–2008), Wolf Kahn (1927-2020), Alex Katz (b. 1927), Albert Kresch (b. 1922), Paul Resika (b. 1928), and Anne Tabachnick (1927–1995). The talk will take place via Zoom and Facebook Live. A link to attend will be posted here beforehand. Karen Wilkin is a New York-based curator and art critic and the Atelier Head of Art History at the New York Studio School of Drawing, Painting & Sculpture, where she teaches in the MFA program. Wilkin was educated at Barnard College and Columbia University and was a Fulbright Fellow and a Woodrow Wilson Fellow. She is a regular contributor to The New Criterion and The Wall Street Journal as well as a contributing editor for art for The Hudson Review.
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For Immediate Release: November 27, 2019
For Immediate Release: November 27, 2019 TAYLOE PIGGOTT GALLERY ANNOUNCES NEW EXHIBITION WITH ARTIST WOLF KAHN Exhibition Dates: 16 December 2019 – 25 January 2020 Opening Reception: Friday, December 27th 2019 | 5-8pm Tayloe Piggott Gallery is pleased to present an exhibition of landscape paintings by Wolf Kahn. This exhibition brings together select oil works on canvas and pastel works on paper- spanning the last sixteen years and covering a multitude of sizes, themes, and color palettes by the nonagenarian artist. The exhibition features a grouping of landscapes that highlight the artist’s deliberately antithetical subjective process set against the backdrop of the modern language of intentionality. A reception to celebrate this exhibition will be held on Friday, December 27th from 5-8pm. All are invited to attend. Equal parts explosive and subtle, abstract and representational, intimate and expansive, these works paint Kahn as an artist working at the zenith of his seven-decades-long career. A one-time lumberjack in his youth, Kahn’s enthusiasm for trees as subject matter resounds through this exhibition. Eschewing the enormous skies of traditional, formalized landscapes, he focuses instead on the chaotic tangle of vegetation in Broken River (2012) and (literally) Horizontal Tangle (2010). In Predominantly Red- Violet (2017), his sky isn’t just diminutive, it barely registers over the rich luminosity of a looming purple- gold old-growth forest. Still, these ‘landscapes’ are certainly abstracted, trees relegated to variegated vertical lines and branches short, terse horizontal stabs of color. Truly, color is the star of the show, with texture an alluring ingenue, whether in the soft grey luminescence of Last Glow of Fall (2019) or the “blatant and vulgar” orange that blazes from the canvas in Purple Ground Fog (2003), the earliest painting selected for the exhibition.
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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.
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SHFAP and Martha Henry Present
shfap SHFAP and Martha Henry present Pairings: Gandy Brodie / Bob Thompson: The Ecstasy of Influence, an exhibition about the painterly relationship of Gandy Brodie and Bob Thompson in the late 1950’s. Gandy Brodie and Bob Thompson both spent the summer of 1958 in Provincetown, Massachusetts, amidst a community of other artists that included Mimi Gross, Red Grooms, Jay Milder, Wolf Kahn, Emilio Cruz, Lester Johnson, Anne Tabachnick, Dody Müller and Christopher Lane. Art historian Judith Wilson characterized that Provincetown summer as exemplifying an “ecstasy of influence”: the influences of contemporary figurative painters on Thompson’s work. She wrote about this community in the 1998 Whitney Museum exhibition catalogue for Thompson’s retrospective. Jan Müller who died in January of 1958, was undeniably a significant influence on the developing Bob Thompson, despite the fact that they never met. However, the influences of other members of this community on Thompson have been less explored. Wilson touches on this as she quotes a mutual friend of Brodie and Thompson, the painter Emilio Cruz. Cruz has stated that Thompson painted “his first figurative paintings” in response to the influence of Gandy Brodie. In her Whitney essay, Wilson notes that “The gray-brown palette, division of the canvas into large rectangles of contrasting light and dark tones, and the mask- like treatment of faces, as in Brodie’s “The Penetration of a Thought”, 1958 and Thompson’s “Differences”, 1958, seems to bear this out.” This exhibition includes both “The Penetration of a Thought”, 1958 by Brodie and Thompson’s “Differences”, 1958, among 12 paintings all from the period steven harvey fine art projects gallery 24 east 73 street, #2f new york ny 10021 917.861.7312 office 780 riverside drive # 5aa new york ny 10032 212.281.2281 e [email protected] w www.shfap.com shfap between 1958 and 1964, exploring this influence and relationship between these two important post-war figurative painters.
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Wolf Kahn, 92, Who Painted Landscapes Using a Vibrant Palette, Dies
NEW YORK, SATURDAY, MARCH 28, 2020 Wolf Kahn, 92, Who Painted Landscapes Using a Vibrant Palette, Dies By NEIL GENZLINGER Wolf Kahn, a landscape painter who applied a vibrant, adventurous palette to studies of tan- gled forests and fog-shrouded mornings, quiet brooks and solitary barns, died on March 15 at his home in Manhattan. He was 92. Diana Urbaska, his longtime studio manager, said the cause was congestive heart failure. Mr. Kahn, who divided his time be- tween New York and Brattleboro, Vt., was part of a family of artists. His mother-in-law, who died in 1971, was the painter Alice Trumbull Mason, and his wife was Emily Mason, whose “Thicket II” (oil on canvas, 1996). “I want maxi- abstract paintings made striking use of color. mum strength,” Wolf Kahn once said of his work, Ms. Mason, whom he married in 1957, “along with maximum delicacy.” died on Dec. 10. Mr. Kahn, who emigrated from Germa- ny as a child, studied with the influential artist falls there, and Mr. Kahn found inspiration in and teacher Hans Hofmann, who had himself the bucolic scenes. emigrated from Germany, and in 1952 he was “I am attracted by the light, by the shift- among several former Hofmann students who ing horizons, by the variety and gentleness of organized the Hansa Gallery, a cooperative the landscapes,” he told The San Diego Union- named for their teacher. Mr. Kahn had his first Tribune in 1983, when he had his first major solo show there in 1953, a collection of indoor West Coast solo exhibition at the San Diego and outdoor scenes, and made a strong im- Museum of Art.
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Exhibitions (January 18–July 14)
Exhibitions (January 18–July 14): Sheldon Treasures th Stuart Davis: Arch Hotel (closing May 5 ) Table Manners: Art and Food John Walker: Moments of Observation Spring 2019 Quick Guides Sheldon Treasures Introductory Label Sheldon Museum of Art is home to two collections of art. In addition to objects acquired by the University of Nebraska, the museum stewards a collection assembled by the Sheldon Art Association, an organization founded in 1888 as the Haydon Art Club to promote the fine arts in Nebraska. Together, the collections comprise holdings of nearly 13,000 original works of art in various media. Each collection includes unparalleled treasures. Some are unique masterworks by renowned artists; others are beloved favorites of museum visitors. Many have traveled great distances to be seen in national and international exhibitions. This gallery presents a selection of such objects, a testament to the wisdom and foresight of Sheldon’s leaders and advocates who have assembled these works for the benefit of future generations. Ideas to Explore with Students • Abstract vs. representational art • History of Sheldon Museum of Art • The museum’s role in the community • What makes a “treasure?” • The role of the curator: If you were a curator, what choices would you make? • The context (historical, social, cultural) of art • Representations of the human body • Introspection: How do artists give the impression of someone lost in thought? • The African American experience throughout history • The lack of representation of women and African Americans in the art world, including museums: Why is it important that this gallery include works by and about women and people of color? • Art and politics Helpful to Know • The thumbnail images from treasure labels will be available as laminates for docent tours • Both Barkley Hendricks and Robert Indiana passed away in 2018.
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American Art Today: Contemporary Landscape the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 2-18-1989 American Art Today: Contemporary Landscape The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Contemporary Landscape" (1989). Frost Art Museum Catalogs. 11. https://digitalcommons.fiu.edu/frostcatalogs/11 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RIGHT: COVER: Howard Kanovitz Louisa Matthiasdottir Full Moon Doors, 1984 Sheep with Landscape, 1986 Acrylic on canvas/wood construction Oil on canvas 47 x 60" 108 x ;4 x 15" Courtesy of Robert Schoelkopf Gallery, NY Courtesy of Marlborough Gallery, NY American Art Today: Contemporary Landscape January 13 - February 18, 1989 Essay by Jed Perl Organized by Dahlia Morgan for The Art Museum at Florida International University University Park, Miami, Florida 33199 (305) 554-2890 Exhibiting Artists Carol Anthony Howard Kanovitz Robert Berlind Leonard Koscianski John Bowman Louisa Matthiasdottir Roger Brown Charles Moser Gretna Campbell Grover Mouton James Cook Archie Rand James M. Couper Paul Resika Richard Crozier Susan Shatter
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