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2019 Lewallen Galleries
$15US ISBN 978-1-7336075-9-9 Esphyr Slobodkina (1908-2002) Born:1908, Chelyabinsk, Siberia Died: 2002, Glen Head, New York EDUCATION British Art Center, New York, NY; 1944, Mortimer Brandt 1928 National Academy of Design, New York City, NY Gallery, New York, NY; 1942, Fine Arts Galleries, New York, NY; 1940 and 1938, American Fine Arts Galleries, New York, NY; Esphyr Slobodkina SELECTED SOLO EXHIBITIONS 1937, Squibb Galleries, New York, NY) 2019-20 Esphyr Slobodkina: Six Decades of Groundbreaking Painting, 1992 Fables, Fantasies, and Everyday Things: Children’s Books Collage, and Sculpture, LewAllen Galleries, Santa Fe, NM by Artists (1930-1945), Whitney Museum of American Art, SIX DECADES OF GROUNDBREAKING PAINTING, 2009 Rediscovering Slobodkina: A Pioneer of Abstraction, New York, NY Heckscher Museum of Art, Huntington, NY 1989 The Patricia and Phillip Frost Collection: American Abstraction COLLAGE AND SCULPTURE (traveling exhibition) National Museum of American Art, Washington, DC 2004 Kraushaar Galleries, New York, NY; also 2002 1930-45 National Museum of American Art, Washington, DC 2003 Esphyr Slobodkina: Abstractions, Hillwood Art Museum, 1983-84 Abstract Painting and Sculpture in America, 1927-1944, Long Island University, C.W. Post, Brookville, NY Museum of Art, Carnegie Institute, Pittsburgh, PA 1997 Thinking in the Abstract: The Paintings and Sculpture of (traveling exhibition) Esphyr Slobodkina, Heckscher Museum of Art, 1975 Federation of Modern Painters and Sculptors, Union Carbide Huntington, NY Exhibition Hall, New York, -
A Finding Aid to the Esphyr Slobodkina Papers in the Archives of American Art
A Finding Aid to the Esphyr Slobodkina Papers in the Archives of American Art Judy Ng Processing of this collection was funded by the Terra Foundation for American Art 2013 September 18 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1934-1992.................................................................... 5 Series 2: Writings, circa 1920-1985......................................................................... 7 Series 3: Printed Material, circa 1939-1994............................................................ -
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 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 2 BLURRING BOUNDARIES 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. -
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. -
The Women of American Abstract Artists, 1936–Present Clara M
BLURRING BOUNDARIES THE WOMEN OF AMERICAN ABSTRACT ARTISTS, 1936–PRESENT CLARA M. EAGLE GALLERY, MURRAY STATE UNIVERSITY T. Michael Martin, Director and Curator EWING GALLERY OF ART & ARCHITECTURE, UNIVERSITY OF TENNESSEE, KNOXVILLE Sam Yates, Director and Curator Sarah McFalls, Registrar Eric Cagley, Exhibitions Coordinator Blurring Boundaries: The Women of American Abstract Artists, 1936 - Present Catalogue published on the occasion of the 2018 exhibition, Blurring Boundaries: The Women of American Abstract Artists, 1936 - Present organized by the Clara M. Eagle Gallery, Murray State University, Murray, Kentucky and the Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville. Catalogue revised, 2020. © 2018 Ewing Gallery of Art & Architecture Exhibition Concept: Creighton Michael Exhibition Curator: Rebecca DiGiovanna Catalogue Design: Sarah McFalls Catalogue Editors: Sam Yates and Emily Berger Printer: The University of Tennessee, Graphic Arts Service This exhibition is toured by AAA gratefully acknowledges the Lily Auchincloss Foundation, Inc. for International Arts & Artists, Washington, D.C. support of the exhibition. Lily Auchincloss Foundation, Inc. Alice Adams EXHIBITING ARTISTS Liz Ainslie Rosalind Bengesldorf Siri Berg Emily Berger Susan Bonfils Sharon Brant Gabriele Evertz Laurie Fendrich Perle Fine Joanne Freeman Gertrude Greene Gail Gregg Lynne Harlow Mara Held Rhia Hurt Phillis Ideal Cecily Kahn Marthe Keller Iona Kleinhaut Lee Krasner Jane Logemann Katinka Mann Nancy Manter Alice Trumbull Mason Joanne -
The Story of Esphyr Slobodkina Caps for Sale
1 THE STORY OF ESPHYR SLOBODKINA AND CAPS FOR SALE (for children 9-up and educators) Derived from Slobodkina’s memoirs: “Notes for A Biographer” This is the story of how Esphyr Slobodkina, who grew up observing and remembering, and learned to use her imagination to affect millions of people through art. Esphyr Slobodkina was born in Chelyabinsk Russia many years ago. She had a loving mother and father, a sister and two brothers. She was the youngest child. When Esphyr was five years old she became sick for a very long time. The illness was contagious. Figure 1: Esphyr was quarantined from her friends and The Slobodkin family before Esphyr's birth siblings. She spent weeks in bed. During this time Esphyr’s brother died of scarlet fever. Her mother, also very ill, had to go away for a while. Her father worked all day and sometimes evenings. Esphyr was very sick, very sad, and very lonely. Karabajak, a peddler who travelled all over selling religious objects, came upon Esphyr’s family at this heartbreaking time. Karabajak thought about how he might help the Slobodkin family. He did not turn his back and go looking for a happier situation. He knew Esphyr’s father and that he was a good man. And so Karabajak the peddler, stayed in the town to assist Mr. Slobodkin however he could. While Karabajak helped at the Slobodkin house Esphyr’s loneliness and illness got him thinking what he might do to cheer her up. He found a Figure 2: Mr. Slobodkin box of Christmas decorations left over from a and Karabajack the peddler, in happier times, good deed the Slobodkin family had done years dressed as Arabs before. -
The Onward of Art American Abstract Artists 80Th Anniversary Exhibition
THE ONWARD OF ART AMERICAN ABSTRACT ARTISTS 80TH ANNIVERSARY EXHIBITION Essay by Karen Wilkin Published by American Abstract Artists 1 acknowledgments “The Onward of Art,” commemorating the 80th Anniversary of American Abstract Artists, has been a team effort to which many people have contributed importantly. The exhibition would not have been possible without the dedicated efforts of Emily Berger, Lynne Harlow, Daniel G. Hill, Creighton Michael, Jim Osman, Claire Seidl, Colin Thomson, Kim Uchiyama and Vera Vasek, all of whom I am grateful to for many different reasons. Heartfelt thanks are due to all the lenders to the exhibition This catalogue is published by American Abstract Artists in — both the current members and those who arranged for the historical works and documentary conjunction with the exhibition The Onward of Art: American material that contextualize the show; these include Jason Andrew, Christine Berry, Laurie Fendrich Abstract Artists 80th Anniversary Exhibition, curated by Karen and Peter Plagens, Edith Ferber, James Gross, Madalena Holtzman, Cecily Kahn, Ce Roser, Hanne Wilkin and organized by American Abstract Artists at 1285 Tierney, Don Voisine, and Joan Washburn, among others. I am indebted to them all. I would like to Avenue of the Americas Art Gallery, New York, New York. thank Linda Florio for everything she has done, with grace and efficiency. And finally, I would like January 18, 2016 – March 25, 2016 to thank AAA for asking me to participate in this wonderful project. Guest curator: Karen Wilkin Karen Wilkin, curator Gallery director: Colin Thomson Design: Linda Florio, Florio Design Editors: Emily Berger, Daniel G. Hill, Claire Seidl American Abstract Artists (AAA) is a democratic artist-run organization founded in 1936 in New York City to promote and foster understanding of abstract and non-objective art. -
The Missing Future: Moma And
the missing future: moma and modern women / griselda pollock Among the many reasons women took to the streets in 1970 was, perhaps surprisingly, art. Angry artists, critics, curators, and art historians stomped militantly around The Museum of Modern Art, protesting the unrepresen- tative picture of the modern century perpetuated by institutions that appeared to exhibit only the work of men, and thus to educate their ever-expanding publics in a half-truth about the nature of art and modernity, one that would continue to “disappear” contemporary women artists. That same year, at The Metropolitan Museum of Art, curator Henry Geldzahler showed forty-three artists in the exhibition New York Painting and Sculpture, 1940– 1970. Only one was a woman. Helen Frankenthaler (no. 2) was rightly included, but Nell Blaine, Elaine de Kooning, Grace Hartigan (no. 3), Lee Krasner, Joan Mitchell (no. 1), and Louise Nevelson (no. 4)—to name just a few—were not. If artists who were women were still being kept from public knowledge, what would happen if the institutions and their selective stories were not challenged in the name of both the erased past and the missing future? Women Found the museums The history of museums, taste, and the collecting of modern art in the United States owes much to influential women amateurs. The Metropolitan Museum of Art’s marvelous collections of later-nineteenth-century French art are based in Louisine Havemeyer’s remarkable holdings, astutely assembled under the thoughtful guid- ance of American painter Mary Cassatt.1 The involvement 1. Joan mitchell (american, 1925–1992). Ladybug.