‘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.
Ernest Briggs, Untitled, 1-15-53, diptych, oil on canvas, 69 1/4″ x 53 1/4″ (photo courtesy Anita Shapolsky Gallery)
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.
Welcome to Part 2 of ‘How to Fix the Art World.’ If you are just now tuning in, here’s a link to Part 1 , and here’s a little background: Back in August my staff and I embarked on an epic project: we wanted to know what inhabitants of the art world think is wrong with it and how they would fix it. In the ensuing months we spoke with more than 50 individuals—artists and curators, critics and historians, art dealers and an art fair director—to gather a range of perspectives. Some wrote longer essayistic responses; some artists responded with visuals. We finished our research and put the Winter 2017 issue of ARTnews to bed on the eve of the U.S. presidential election. Subscribers will receive the print edition later this month. Because some of our respondents wanted to speak about what’s right with the art world, we are posting a portion of the many responses in these days before the Thanksgiving holiday. We hope you will read them with the same great interest, an...
A Dubious Old Master Unnerves the Art World By NINA SIEGAL OCT. 26, 2016 Continue reading the main story Share This Page Share Tweet Pin Email More Save Photo Sotheby’s declared “Portrait of a Man,” previously attributed to Frans Hals, a “modern forgery.” Credit Sotheby's AMSTERDAM — The painting convinced experts at the Louvre. Top French cultural officials declared it a national treasure. Dutch curators at the Mauritshuis and the Rijksmuseum joined the chorus of scholars who decided the enigmatic portrait of a man dressed in black was an undiscovered masterwork by Frans Hals. To many, “Portrait of a Man” was that rare find, a truly great old master painting that had simply never surfaced. In 2011, Sotheby’s auction house in New York brokered a private sale to an art collector for about $10 million. This month, though, Sotheby’s declared the work a “modern forgery.” The portrait was linked to a lower-profile event back in March, when the French poli...
Anita Shapolsky Gallery
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