‘Abstract 50’s Masters (Where Were the Mistresses?)’ at Anita Shapolsky Gallery
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‘Abstract 50’s Masters (Where Were the Mistresses?)’ at Anita Shapolsky Gallery
This exhibition emphasizes the pluralistic nature of abstraction art. Featured artists include: Ernest Briggs, Peter Agostini, Seymour Boardman, Ilya Bolotowsky, James Brooks, Lawrence Calcagno, Nassos Daphnis, Beauford Delaney, Friedel Dzubas, Jimmy Ernst, and many more.
Abstract 50’s Masters (Where Were the Mistresses?) Saturday, November 19–Saturday, February 25 Opening Reception: Saturday, November 19th, 4-6pm Panel Discussion: Lives of the Artists Spouses, Children & Friends Saturday, December 10th, 3-5pm
Abstract art has roots in the late 19th century and reached ascendance in the late 40’s – 50’s. Philip Pavia (sculptor), one of the leaders of “the Club” and his publication It is was seminal in the championing of abstract art.
Our exhibition emphasizes the pluralistic nature of abstraction: gesture, geometric, and introspection. Abstract expressionism uses gesture and was an important development in abstract art (Action painting). Most of the artists began traditionally using grids and sketches, as they were taught. They went on to their individual development where the act and thought was important rather than the space that was there. Our artists are considered mainly 2nd generation abstract expressionists. They were lucky to have the guidance of the stars of the first generation. Some of our artists went to the Art Students League and others took classes with the master artists. Many of them belonged to “the Club” and led to the organizing of the Ninth Street show in 1951 which unified the downtown artists and connected them to the public. The annual exhibits continued uptown at the Stable Gallery from 1951-1957.
Featured artists include: Peter Agostini, Seymour Boardman, Ilya Bolotowsky, James Brooks, Lawrence Calcagno, Nassos Daphnis, Beauford Delaney, Friedel Dzubas, Jimmy Ernst, Joseph Fiore, John Hultberg, Ibram Lassaw, Michael Loew, Leonard Nelson, Joe Overstreet, Phillip Pavia, Misha Reznikoff, Richards Rubens, Thomas Sills & Wilfrid Zogbaum.
The show also includes Ernest Briggs, whose volcanic abstract paintings from the 1950’s place him firmly in the ranks of the New York avant-garde. He sought inspiration in nature. The changing qualities of the natural world are conveyed through his ragged and expressive brushwork. A second generation Abstract Expressionist, Briggs represents “action painting.” His paintings are alive; they offer viewers an experience that is both mysterious and known. He participated in several Whitney Museum Annuals and in 1956 was included in the Museum of Modern Art’s exhibition “12 Americans” curated by Dorothy Miller.
La Critríca de arte ha perdido totalmente su función El historiador del arte reflexiona sobre la p intura en la era digital y la dictadura del mercado Otros 11 Guardar Enviar por correo Imprimir IKER SEISDEDOS 20 MAR 2016 - 00:23 CET BERNARDO PÉREZ El profesor de Harvard Benjamin H. D. Buchloh (Colonia, 1941) es uno de los más influyentes historiadores del arte del siglo XX. León de Oro en la Bienal de Venecia de 2007, fue exégeta de los primeros conceptualismos europeos antes de mudarse en los setenta desde Alemania Occidental a Estados Unidos, donde ha intervenido en la esfera pública del arte junto a Rosalind Krauss, Yve-Alain Bois y Hal Foster, coautores del esencial tratado Arte desde 1900 (Akal) y compañeros de la revista October, boletín de pensamiento crítico que, libre de publicidad, edita el Massachussets Institute of Technology (MIT). En el grupo de los últimos mohicanos de la crítica, Buchloh se sitúa en la e
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