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DTSTART;VALUE=DATE:20230113
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SUMMARY:The Collector and the Art Dealer: Jack Shear and David Nolan\, A 20 Year Adventure with Drawings
DESCRIPTION:David Nolan Gallery is pleased to announce its upcoming exhibition\, The Collector and the Art Dealer: Jack Shear and David Nolan\, A 20 Year Adventure with Drawings\, on view from January 13 – February 11\, 2023. The show will feature a selection from the works that artist\, curator\, and President of the Ellsworth Kelly Foundation Jack Shear acquired in collaboration with gallerist David Nolan in building his extraordinary drawing collection. Formed mostly over a twenty-year period\, Shear’s collection consists in over seven hundred drawings dating from the 16th century to the present. A significant part of the collection is the result of Shear’s personal and professional relationship with David Nolan. Over the past two decades\, Nolan’s eye and expertise have helped forge innovative connections among existing and subsequent acquisitions. \n“My gallery opened in the late 1980s to raise the consciousness of works on paper without any restrictions. This exhibition demonstrates the unlimited possibilities in putting together a collection of drawings today. Jack Shear’s is arguably one of the great collections of drawings in private hands that has such challenging breath. and is still a very personal collection. \nI met Jack originally in Manhattan in the 1990s. He stood out from the crowd with his insatiable enthusiasm for art. His generosity\, warmth and unabashed quick-witted humor was\, and remains\, infectious. It was clear to me that he was attracted to rigorous art\, particularly works on paper. Later I learnt of his parallel passion for photography (both his own and that of others)\, which I have always felt informed his eye. \nThe first works I sold to Jack\, in 2002\, were graphite drawings by American artist Jim Nutt (b. 1938)\, whom I have represented since the 1990s; a pencil and watercolor landscape by Swiss artist Friedrich Salathé (1793-1858); a red chalk drawing by Austrian artist Otto Greiner\, Reclining Female Nude (1896); and a large sheet by Donald Judd\, Plywood Boxes #280 (1976)\, revealing how sophisticated and eclectic Jack’s eye was since the early days. Without realizing it\, he and I embarked on a collaboration of works on paper that kept pushing the boundaries of art making over five hundred years. Not just masterpieces but investigative drawings that\, in the words of Walter Bareiss (whose collection of drawings my gallery exhibited in the 1990s)\, give the spirit and essence of art making. In many cases\, the collection showcases a number of examples by the same artist\, telling a rich story. It has been a learning and exciting adventure as there are no parameter rules. \nOver the past 6 years\, with Jack’s concentration becoming more intense\, the collection has gained dramatic focus and momentum. After purchasing a great drawing by Marcel Duchamp\, 2 nus: un fort et un vite (1912)\, we were offered a rare work from Richard Hamilton’s formative years\, Somersault (1952)\, that only improved when juxtaposed with the Duchamp drawing. When given the opportunity of acquiring an early large-scale double portrait by Kehinde Wiley from the artist’s 2001 residency at the Studio Museum in Harlem\, Jack immediately understood its power. Within a few weeks\, he acquired the magnificent red chalk Portrait of a Youth by Giovanni Battista Tiepolo (1696-1770)\, that compares with any museum example in the world by the Venetian artist. \nFrom Jack’s collection multiple exhibitions could be mounted to demonstrate a rich and varied examination of art history through works on paper. In 2021\, Shear himself curated Drawn: From the Collection of Jack Shear\, at the Blanton Museum of Art\, Austin\, TX\, a show where not only the juxtapositions were unorthodox but also the topography of the installation forced a refreshing way to look at the drawings. In 2021-22\, the Drawing Center in New York City mounted Ways of Seeing: Three Takes on the Jack Shear Drawing Collection\, a three-part exhibition and an experiment in connoisseurship and exhibition-making\, where artist Arlene Shechet\, critic and curator Jarett Earnest\, and Shear himself each presented an installation curated from Shear’s holdings. \nThe exhibition at David Nolan Gallery will differ from the previous presentations in that it will highlight selected works that the Collector and the Dealer chose in unison. The show will be a collaborative installation between the two partners in this long adventure\, tracing the chronology of and the reasoning behind Jack Shear’s acquisition process.” \n–David Nolan
URL:https://artinamericaguide.com/event/the-collector-and-the-art-dealer-jack-shear-and-david-nolan-a-20-year-adventure-with-drawings/
LOCATION:David Nolan Gallery\, 24 E 81st Street\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20221104
DTEND;VALUE=DATE:20221224
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SUMMARY:Paulo Pasta: Recent Paintings
DESCRIPTION:David Nolan Gallery is delighted to announce a solo exhibition of new and recent paintings by Paulo Pasta\, marking the Brazilian artist’s first presentation in all North America. \nPaulo Pasta has established himself as one of the prolific and revered painters of abstraction in his native Brazil. Pasta’s practice is dedicated to collapsing the passage of time into fields of color and geometries of lines and crosses. The elegant and poetic works are representations of imagined space\, where parallel\, perpendicular diagonal lines suggest a metaphysical architecture. Rendered in pastel hues of oil paint that the artist hand mixes to perfect tonality\, the work recalls that of Mexican architect\, Luis Barragán. \nDrawing endless inspiration from São Paulo\, Pasta creates “landscapes” of a different type\, mainly through memory. He considers his process synthetic\, a sensitive imagining of invented and realized space. Pasta’s work draws from various art historical traditions in terms of aesthetic\, color and motivation. From Morandi\, came Pasta’s embrace of subtlety and simplicity\, particularly in terms of color palette and chromatic variation; from Giotto\, a fascination with the temporal suspension which emanates from his frescos. \n“To approach one of Pasta’s abstractions is to enter a world in which everything is simultaneously objective and entirely relational. His structures are created with an almost deadpan structure of interlocking planes\, but the interaction of colours is such that they generate a marvelous vibration that makes the experience of looking at the work sensual and seductive. The rational and the sensual interact seamlessly in his compositions. In this dialogue between reason and feeling\, Pasta is reflecting on one of the most distinctive aspects of the history of abstract art in Brazil.” -Gabriel Pérez-Barreiro\, “Paulo Pasta: Between Landscape and Abstraction” \n\n\nPasta holds a PhD in Fine Arts from the University of São Paulo\, Brazil. He has been the subject of solo exhibitions at the Museu de Arte Sacra de São Paulo\, Brazil (2021); Simões de Assis Galeria de Arte\, Curitiba\, Brazil (2019); Instituto Tomie Ohtake and Anexo Millan\, São Paulo\, Brazil (2018); Galeria Carbono\, São Paulo\, Brazil\, and Paulo Darzé\, Salvador\, Brazil (2017); Palazzo Pamphilj\, Rome\, Italy (2016); Galeria Millan\, Anexo Millan and Museu Afro Brasil\, São Paulo\, Brazil (2015); Sesc Belenzinho\, São Paulo\, Brazil (2014); Fundação Iberê Camargo\, Porto Alegre\, Brazil (2013); Centro Cultural Maria Antonia\, São Paulo\, Brazil (2011); Centro Cultural Banco do Brasil\, Rio de Janeiro\, Brazil (2008); Pinacoteca do Estado de São Paulo\, Brazil (2006); among others. \nPasta’s work is featured in various collections\, such as Pinacoteca do Estado de São Paulo\, Brazil; Museum of Modern Art of São Paulo\, Brazil; Museu de Arte Moderna do Rio de Janeiro\, Brazil; Museo de Arte Contemporáneo de la Universidad de São Paulo\, Brazil; Museu Nacional de Belas Artes do Rio de Janeiro\, Brazil; Colección Patricia Phelps de Cisneros\, New York\, USA; and Kunsthalle Berlin\, Germany\, amongst others.
URL:https://artinamericaguide.com/event/paulo-pasta-recent-paintings/
LOCATION:David Nolan Gallery\, 24 E 81st Street\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition
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SUMMARY:Mad Women | Kornblee\, Jackson\, Saidenberg\, and Ward: Art Dealers on Madison Avenue in the 1960s
DESCRIPTION:Curated by Damon Brandt and Valentina Branchini \nDavid Nolan Gallery is pleased to announce MAD WOMEN\, an exhibition profiling pioneering women gallerists Jill Kornblee\, Martha Jackson\, Eleanore Saidenberg\, Eleanor Ward\, and their respective exhibition programs that flourished along Madison Avenue in the 1960s. During a complex and fraught decade in American history\, each of these groundbreaking women became an essential and defining part of the contemporary cultural landscape\, all of which remains relevant today. \nMadison Avenue\, located on an Uptown-Downtown axis in Manhattan\, is the ideal retail destination between the residential gold coasts and museums of Fifth and Park Avenues. Shops and galleries proliferated in the 1950s and 1960s along or close to Madison Avenue\, forming a robust interconnected community that catered to an expanding and inquisitive audience. Influential art critics Lawrence Alloway\, John Ashbery\, Dore Ashton\, John Canaday\, and Donald Judd were frequent Saturday afternoon visitors\, moving amongst a fluid crowd of well-heeled clients and penniless young devotees of the more freewheeling Downtown art scene. Every Friday\, The New York Times ran an expansive black and white patchwork quilt of printed ads\, calling attention to the extraordinarily diverse array of the best of both European and American artistic creativity. It was in the midst of this fertile urban avenue of art and commerce that the Kornblee Gallery\, Martha Jackson Gallery\, Saidenberg Gallery\, and Stable Gallery flourished. \nIn 1955\, Eleanore Saidenberg\, no doubt over the protestations of her almost exclusively male competition\, was awarded the sole representation of Picasso for North America. Armed with an already vibrant classical exhibition program that included Paul Klee\, André Masson\, Julio González\, and Jean Dubuffet amongst others\, throughout the 1960s she became an early inspiration\, mentor\, confidant and supporter of the neighboring Madison Avenue dealers working in the often more arduous and volatile contemporary art field. It was an extension of her character and the professional concern for her colleagues that she became a founding member of The Art Dealers Association of America (ADAA). \nJill Kornblee\, a reserved and intense graduate of Bryn Mawr College\, opened her first gallery in 1961\, moving soon after to 58 East 79th Street\, where she quickly earned a reputation for being a dealer of astute intellectual and aesthetic vision. She gave inaugural exhibitions to such maverick talents as Michelangelo Pistoletto\, Dan Flavin\, Rosalyn Drexler\, and Alex Hay. \nFurther down Madison Avenue\, often dressed in Dior\, Eleanor Ward reigned over Stable Gallery for close to twenty years with a similarly impressive roster of fresh talent\, including Andy Warhol\, Paul Thek\, Marisol\, and Joan Mitchell. Quoting Dore Ashton\, “Eleanor [Ward] injected the art scene\, which sometimes seemed a little bland\, with a sense of urgency. Her decision\, at a key time in American art\, made Stable important.” Ward suddenly closed the gallery in 1970\, when she felt “the art world had gotten too commercial. Although some dealers may get a ‘high’ from their sales\, that aspect was far less interesting to me than discovering new artists\, selecting work and installing the show itself.” \nLess than six blocks away from Ward\, Martha Jackson worked her own brand of personality and magic\, a kindred spirit to Ward and Kornblee in both her evangelical approach to being an artist-centric dealer and emotional commitment to cutting edge contemporary art. Early exhibitions of such future art world luminaries as John Chamberlain in 1960\, Lucio Fontana in 1961\, Louise Nevelson in 1963\, and Bob Thompson in 1964 are just a part of this compelling story until her untimely death in 1969 at age 62. \nWhere ultimately only four dealers became the necessary curatorial focus of this exhibition\, it should be noted that there were a heartening number of other quality galleries run by womenalong Madison Avenue at that time: Grace Borgenicht\, Antoinette Kraushaar\, Helen Serger\, Marian Willard\, Virginia Zabriskie\, Gertrude Stein\, and even a young Paula Cooper (then under the name of Paula Johnson) either initiated\, nurtured\, or inherited serious and well considered programs that warrant\nacknowledgment. \nJill Kornblee\, Martha Jackson\, Eleanore Saidenberg\, and Eleanor Ward each possessed that essential talent of a keen and prescient eye working in tandem with an innovative and responsive approach to a business that was often as challenging as it was rewarding. Their shared passion and courage\, exemplified by the advocacy and connoisseurship reflected in each of their exhibition programs\, remain a testament to a tenacity and brilliance that is worthy of closer attention. In a curatorial celebration of the very artists that helped define their respective legacies\, it is our pleasure to bring these four women together\, examine their extraordinary careers\, and highlight the connective tissue that bound them together in a special time and place.
URL:https://artinamericaguide.com/event/mad-women-kornblee-jackson-saidenberg-and-ward-art-dealers-on-madison-avenue-in-the-1960s/
LOCATION:David Nolan Gallery\, 24 E 81st Street\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition
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SUMMARY:A TRIBUTE TO KLAUS KERTESS’ BYKERT GALLERY 1966-75\, PART II
DESCRIPTION:David Nolan Gallery is pleased to present the second iteration of our homage to Klaus Kertess’ Bykert Gallery\, which runs from June 9 through July 29. Bykert Gallery\, which existed in the same building as the current David Nolan Gallery\, operated from 1966 to 1975. The gallery’s program and exhibitions were led by the formidable curatorial eye of Klaus Kertess\, who went on to hold positions at the Parrish Art Museum\, Museum of Contemporary Art\, Detroit and the Whitney Museum of American Art. Though the gallery’s doors remained open less than a decade\, its impact on the New York art scene was vast\, showcasing the then emerging talents of Lynda Benglis\, Chuck Close\, Brice Marden\, Barry Le Va and Dorothea Rockburne. Evidenced by the decorated careers and accomplishments of these artists\, Kertess had an uncanny ability to spot and nurture talent\, even though the work was considered radical and risky at the time. \n\n\nThe second installation of this show intends to shed light on other artists in the Bykert stable\, with an emphasis on the work of Bill Bollinger. Bollinger’s sculpture activates the readymade tradition using a variety of materials like water\, stone\, wood\, pipe and containers to directly express force – particularly gravity – and process. Given their extemporaneous nature\, much of Bollinger’s sculpture pieces are reconstructed for the purpose of this exhibition. Thus\, the artist’s drawings remain the most enduring and direct exposition of his ideas. In addition to a group of untitled “horizon line drawings\,” two never shown stencil drawings are exhibited: Bollinger’s thesis drawing I Am Gravity\, and Gravity’s Grey Eminence Among the Councils of the Living Stone\, quoting from Thomas Pynchon’s novel Gravity’s Rainbow. \nOne sculpture centers the exhibition. Isa’s Flower\, first exhibited in Water is life and like art it finds its own level\, Bollinger’s 1970 solo exhibition at Galleria Sperone\, is installed in the gallery alongside the certificate drawing for the barrel/water pieces in the early Sperone show. Bill Bollinger’s investigations of materiality\, temporality and commodity were challenging\, daring\, and largely influential. The presentation and selection of Bollinger’s work is curated with the assistance of Mitchell Algus. The exhibition will also display the conceptual symbiosis that links Bill Bollinger and Barry Le Va\, creating a formal and aesthetic through line.
URL:https://artinamericaguide.com/event/a-tribute-to-klaus-kertess-bykert-gallery-1966-75-part-ii/
LOCATION:David Nolan Gallery\, 24 E 81st Street\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition
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