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DTSTART;VALUE=DATE:20251024
DTEND;VALUE=DATE:20251027
DTSTAMP:20260407T031502
CREATED:20251023T190550Z
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SUMMARY:Bob Thompson & Karon Davis at Art Basel Paris
DESCRIPTION:Michael Rosenfeld Gallery and Jeffrey Deitch are pleased to present the two-artist exhibition Bob Thompson and Karon Davis in a collaborative booth (A48) at Art Basel Paris. \nLearn more
URL:https://artinamericaguide.com/event/bob-thompson-karon-davis-at-art-basel-paris/
LOCATION:Art Basel\, Messe Basel Messeplatz 10\, Basel\, 4058\, Switzerland
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250905
DTEND;VALUE=DATE:20250908
DTSTAMP:20260407T031502
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
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SUMMARY:The Armory Show 2025
DESCRIPTION:To learn more\, visit https://michaelrosenfeld.com/exhibitions/the-armory-show-2025
URL:https://artinamericaguide.com/event/the-armory-show-2025/
LOCATION:The Armory Show\, The Javits Center\, 429 11th Ave\, New York\, NY 10001\, New York\, NY\, 10019\, United States
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250510
DTEND;VALUE=DATE:20250726
DTSTAMP:20260407T031502
CREATED:20250515T161306Z
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SUMMARY:Bienvenue: African American Artists in France
DESCRIPTION:Bienvenue: African American Artists in France\nMay 10–July 25\, 2025  \n“There is a breadth\, a generosity\, an obsolete cosmopolitanism about her [France] recognition of the fine arts\, which bars no nationality\, no race\, no school\, or variation of artistic method. All she asks is that the art shall be true\, in other words that it shall set forth life.”—Henry Ossawa Tanner\, 1908 [1] \n“Life in Paris offers me the anonymity and objectivity to release long-stored memories of sorrow\, and the beauty of the difficult effort to release and orchestrate in form and color a personal design. Being in France gives time for reflection. One never leaves home if one was never there.”—Beauford Delaney\, 1966 [2] \nMichael Rosenfeld Gallery is proud to present Bienvenue: African American Artists in France\, a historical survey of seventeen Black American artists who lived and worked in France from the late nineteenth century through the present. Complementing the landmark exhibition Paris Noir: Artistic circulations and anti-colonial resistance\, 1950–2000\, on view at the Centre Pompidou through June 30th\, Bienvenue offers an expanded look into the presence of Black American artists in France\, many of whom were seeking respite from the systemic racism that limited their opportunities for education and the recognition of their work in the United States. Where Paris Noir encompasses artists of the larger African diaspora working in the second half of the twentieth century\, Bienvenue: African American Artists in France focuses specifically on American artists\, and spans nearly eight decades in its chronological scope\, beginning with a 1912 painting by Henry Ossawa Tanner (1859–1937) and ending with a 1989 sculpture by Barbara Chase-Riboud (b.1934). \nBienvenue: African American Artists in France features works by Richmond Barthé*(1901–1989)\, Barbara Chase-Riboud* (b.1934)\, Ed Clark (1926–2019)\, Robert Colescott (1925–2009)\, Harold Cousins* (1916–1992)\, Beauford Delaney* (1901–1979)\, Herbert Gentry (1919–2003)\, Sam Gilliam (1933–2022)\, Palmer Hayden (1890–1973)\, Richard Hunt (1935–2023) William H. Johnson* (1901–1970)\, Augusta Savage (1892–1962)\, William Edouard Scott (1884–1964)\, Albert Alexander Smith (1896–1940)\, Henry Ossawa Tanner* (1859–1937)\, Bob Thompson* (1937–1966) and Hale Woodruff (1900–1980).[3] \nWidely regarded as the patriarch of Black American artists\, Henry Ossawa Tanner remains a foremost painter of the nineteenth and early twentieth centuries and the first Black American artist to achieve international fame. His relocation from Philadelphia to Paris in 1891 set a precedent that would inspire future generations of Black American artists to train\, reside\, or sojourn in France\, including Harlem Renaissance master William Edouard Scott\, who studied under Tanner from 1910–13. Likewise\, Palmer Hayden\, Augusta Savage\, and Hale Woodruff each sought an audience with the elder master during their time in France in the 1920s and 1930s. In addition to invaluable advice on navigating the mores of French society\, Tanner also provided guidance on painting techniques and openly shared his understanding of art. In a 1970 issue of The Crisis\, Woodruff recalled his formative encounter with Tanner in 1928. Traveling to the small town in Picardy where Tanner lived in semi-retirement\, Woodruff introduced himself to “a remarkable man of profound intelligence and scholarship\,” who welcomed the young artist into his home. Upon asking who had most inspired him in the Parisian museums\, Woodruff recalled Tanner’s nomination of Claude Monet and Paul Cézanne as the most important painters of the modern age\, elaborating: \n“Remember that light can be many things: light for illuminating an object or for creating a mood; for purposes of dramatization as in a theatrical production. For myself\, I see light chiefly as a means of achieving a luminosity\, a luminosity not consisting of various light-colors but luminosity within a limited color range\, say\, a blue or blue-green. There should be a glow which indeed consumes the theme or subject. Still\, a light-glow which rises and falls in intensity as it moves through the painting. It isn’t simple to put into words.”[4] \nThough the country was not free of racism\, France generally afforded Black artists and intellectuals greater respect and more opportunities than the United States during the late nineteenth and twentieth centuries. Such was the environment that prompted James Baldwin to make Paris his home in 1948\, and he spent the ensuing years encouraging his good friend Beauford Delaney to join him. Delaney eventually agreed\, moving from his Greene Street loft in Greenwich Village to Montparnasse in 1953. Delaney would remain in the vicinity of Paris for the remainder of his life\, composing a singular body of gestural\, chromatically nuanced abstractions and a celebrated series of portraits that reflect the creative and spiritual inspiration he felt in the European capital. “I left New York for Paris in 1953\, and I have painted with greater freedom ever since\,” Delaney wrote some ten years after leaving the United States. “I tried to paint light\, different kinds of light\, and my painting has been associated with ‘abstraction.’ But there are no precise limits for me between ‘abstract’ and ‘figurative’ paintings and I have always continued to paint portraits of friends.”[5] Delaney is a particularly strong presence in Paris Noir\, which features twelve paintings by the artist\, eight of which are on loan from Michael Rosenfeld Gallery. \nWhile Paris has always been a cultural hub for creatives and intellectuals\, many artists featured in Bienvenue traveled to the countryside or coast to paint\, following the tradition of the Impressionist and modernist masters that inspired them. The exhibition offers key examples of this tradition\, including maritime paintings by Palmer Hayden and a coastal scene by Tanner executed along the coast of Brittany; a seminal painting by William H. Johnson depicting the idyllic coastal town of Cagnes-Sur-Mer; a landscape portraying the island of Port-Cros off the French Riviera by Delaney; and a scene of the Eure river by Woodruff executed in Chartres. \nThe cosmopolitan hub of Paris was a natural attraction for Black American artists\, who found the city’s architecture\, social spaces\, and creative circles to be rich sources of inspiration. Several works in the exhibition feature distinctly Parisian subjects\, including Richmond Barthé’s iconic sculpture of Senegalese cabaret dancer Feral Benga; William Edouard Scott’s transcendent portrayal of Notre Dame; and a classic rendition of the Pont Neuf by Woodruff. Parisian nightlife is likewise a recurring theme of the exhibition; in addition to Barthé’s bronze portrait of Benga\, drawings by Robert Colescott and Albert Alexander Smith depicting cabaret performances are also on view. \nOpportunities for education and art training were another primary draw for many artists\, particularly in the postwar era. The exhibition features two abstract paintings by Ed Clark\, who enrolled at L’académie de la Grande Chaumière in 1952; major sculptures by Harold Cousins\, who studied at Ossip Zadkine’s studio in 1949; and a quintessential abstract painting by Herbert Gentry\, who likewise studied under Zadkine and at L’académie de la Grande Chaumière in the late 1940s. Four paintings by Bob Thompson will also be on view; executed during his first trip to Europe in 1961–62\, these works testify to the hours Thompson spent at the Louvre and Paris’ many other museums\, soaking up the compositional devices of the Old Masters and translating them into thoroughly contemporary paintings using his own unique expressionist voice. \nMichael Rosenfeld Gallery is recognized for modern and contemporary art. Since its founding in 1989\, the gallery has been committed to expanding the canon of American art by championing artists who have made vital contributions to surrealism\, social realism\, abstract expressionism\, figurative expressionism\, and geometric abstraction. Michael Rosenfeld Gallery’s dedication to presenting the work of nineteenth and twentieth century Black American masters is as longstanding as the gallery itself; in addition to dozens of solo exhibitions focused on Black American artists\, the gallery organized the renowned annual exhibition series African-American Art: 20th Century Masterworks from 1993–2003. \n1. Henry Ossawa Tanner quoted in Dewey F. Mosby\, Across continents and cultures: The Art and Life of Henry Ossawa Tanner(Nelson-Atkins Museum of Art\, 1995)\, 7–8\n2. Beauford Delaney quoted in John Ashbery\, “American Sanctuary in Paris\,” ARTnews Annual vol. 31 (1966): 146\n3. Names with asterisks indicate that Michael Rosenfeld Gallery has presented solo exhibitions for these artists\n4. Tanner quoted in Hale Woodruff\, “My Meeting with Henry O. Tanner\,” The Crisis (June 1970)\, reprinted in Explorations in the City of Light: African-American Artists in Paris\, 1945-1965\, exh. cat. (New York: The Studio Museum in Harlem\, 1996)\, 11\n5. Beauford Delaney\, artist statement\, “Beauford Delaney – Career as a Creative Artist\,” c.1963\, Beauford Delaney collection\, Sc MG 59\, Schomburg Center for Research in Black Culture\, Manuscripts\, Archives and Rare Books Division\, The New York Public Library\, New York\, NY
URL:https://artinamericaguide.com/event/bienvenue-african-american-artists-in-france/
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20260407T031502
CREATED:20250418T104455Z
LAST-MODIFIED:20250421T170636Z
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SUMMARY:Michael Rosenfeld Gallery at EXPO Chicago 2025
DESCRIPTION:Visit Michael Rosenfeld Gallery at Expo Chicago\, in booth 123. \nLearn more\n\nImage:\nBenny Andrews (1930–2006)\nEight Ball\, 1992\noil on canvas with painted fabric collage\n82 x 51 7/8 x 1 inches / 208.3 x 131.8 x 2.5 cm\nsigned
URL:https://artinamericaguide.com/event/expo-chicago-2025/
LOCATION:Expo Chicago\, 600 E Grand Ave\, Chicago IL 60611\, Chiago\, IL\, 60611\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250208
DTEND;VALUE=DATE:20250504
DTSTAMP:20260407T031502
CREATED:20250211T183445Z
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SUMMARY:Alfonso Ossorio & Nandor Fodor: The Search for the Beloved
DESCRIPTION:View the complete exhibition checklist \n\nMichael Rosenfeld Gallery is pleased to present Alfonso Ossorio & Nandor Fodor: The Search for the Beloved\, a first-of-its-kind exhibition exploring the impact of the theories of Hungarian psychoanalyst Nandor Fodor on the art of Alfonso Ossorio (1916–1990). Fodor’s 1949 book\, The Search for the Beloved: A Clinical Investigation of the Trauma of Birth and Pre-Natal Conditioning (New York: Hermitage Press\, Inc\, 1949) was an early contribution to the field of prenatal psychology\, and while many of his theories have lost their currency\, the provocative language\, vivid imagery\, and theories put forth in the book provided Ossorio with\, in his own words\, “a springboard from which to take off.”[1] From his early surrealist drawings to his celebrated mixed-media assemblages known as Congregations\, the works presented in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved reveal Ossorio’s enduring exploration of themes addressed in Fodor’s book\, notably birth\, death\, suffering\, and sex. \nIn The Search for the Beloved\, Fodor argues that prenatal experience and the inherently traumatic upheaval of birth form the foundation of each person’s psyche\, instilling in them an innate fear of death and a lifelong\, subconscious desire to return to the womb. In the book’s introduction\, Fodor writes: “After nine months of peaceful development\, the human child is forced into a strange world by cataclysmic muscular convulsions which\, like an earthquake\, shake its abode to the very foundations. … In its shattering effect\, birth can only be paralleled by death.”[2] \nBorn in Beregszász\, Austro-Hungarian Empire (now Berehove\, Ukraine) to a Jewish family in 1895\, Nandor Fodor completed a doctorate in law at the Royal Hungarian University of Science in Budapest. After moving to London in 1929 to work as a journalist\, Fodor became interested in the work of Sigmund Freud and began publishing his own writing in psychoanalytic journals. By 1949\, when he published The Searched for the Beloved\, Fodor had developed a reputation as a compelling psychoanalytic thinker writing for a popular audience. Many chapters of The Searched for the Beloved were first published in scientific journals\, including The Psychiatric Quarterly\, The American Journal of Psychotherapy\, and The Journal of Nervous and Mental Disease. Although it is unlikely that Fodor ever met Ossorio\, his theories had an indelible influence on the artist\, who was a voracious reader on a wide range of subjects; notably\, Ossorio kept an annotated copy of The Search for the Beloved on his bedside table until the end of his life. \nAlfonso Ossorio was born in Manila\, the Philippines\, in 1916 and raised in a devoutly Catholic family. After attending Catholic boarding schools in England and a Jesuit secondary school in the United States\, he attended Harvard University\, where he completed his senior thesis titled Spiritual Influences on the Visual Image of Christ. Throughout his youth\, Ossorio’s irrepressible feelings of same-sex attraction were in conflict with the worldview of his upbringing and the beliefs that had been ingrained in him\, leading to immense inner turmoil that he expressed through vividly detailed surrealistic depictions of biblical subjects during the early 1940s. An exemplary selection of these early works will be on view in Alfonso Ossorio & Nandor Fodor: The Search for the Beloved. Executed before the publication of The Search for the Beloved\, these early drawings such as Job (1941) and The New Pandora (1944) reveal Ossorio’s lifelong interests in the themes of suffering\, birth\, and sex that would resonate with Fodor’s book. \n\nOssorio encountered Fodor’s book at a particularly important moment in his life and career. Early in 1950\, Ossorio returned to his home in the Philippines for the first time since he was ten\, bringing the newly published The Search for the Beloved with him. The official purpose of Ossorio’s trip was the execution of a mural titled The Angry Christ for the Chapel of Saint Joseph the Worker\, which his family had built in Victorias\, on the island of Negros. The ten months Ossorio spent in the Philippines opened up old wounds from his youth that led to a highly productive period and a new direction in his art.Guided by his reading of The Search for the Beloved as well as his new friendships with Jackson Pollock and Jean Dubuffet\, Ossorio composed his Victorias Drawings\, a series of abstract paintings on paper executed with a wax-resist technique\, which are prominently featured in this exhibition. Distinguished by their vivid colors and pulsating energy\, the Victorias Drawings directly address the contents of Fodor’s book through titles and imagery referencing pregnancy\, childbirth\, coupledom\, motherhood\, infancy\, martyrdom\, and yonic forms. Created at the height of the abstract expressionist movement\, the Victorias Drawings inspired Dubuffet to author and publish a monographic study on the series\, titled Peintures Initiatiques D’Alfonso Ossorio—the only monograph he would ever write on another artist. In 1951\, the Victorias Drawings were exhibited at Studio Paul Facchetti in Paris and at Betty Parsons Gallery in New York\, formally announcing Ossorio’s departure from his detailed surrealist compositions of the 1940s. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved illuminates themes manifest throughout Ossorio’s oeuvre\, including his final major series: the mixed media assemblages known as the Congregations. In the Congregations\, Ossorio brings together such disparate found objects as glass eyes\, shells\, animal bones\, shards of glass\, and driftwood into compositions that reveal the enduring influence of Fodor’s thought. \nAlfonso Ossorio & Nandor Fodor: The Search for the Beloved is Michael Rosenfeld Gallery’s fourteenth solo exhibition on the work of Alfonso Ossorio\, who has been the subject of more solo exhibitions than any other artist in the gallery’s thirty-six-year history. Beginning in 1996 with Alfonso Ossorio – Reflection & Redemption: The Surrealist Decade\, 1939-1949\, Michael Rosenfeld Gallery has consistently presented focused\, thematic exhibitions exploring various facets of Ossorio’s extraordinary career\, while including his work in eighty-eight group exhibitions since 1992. Michael Rosenfeld Gallery represented the Ossorio Foundation from 1996 to 2007. \n\n  \n\n1. Judith Wolfe\, Alfonso Ossorio: 1940-1980 (East Hampton\, NY: Guild Hall Museum\, 1980)\, 43\n2. Nandor Fodor\, The Search for the Beloved\, (New York: Hermitage Press\, Inc.\, 1949)\, 3
URL:https://artinamericaguide.com/event/alfonso-ossorio-nandor-fodor-the-search-for-the-beloved/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
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LAST-MODIFIED:20241204T152613Z
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SUMMARY:Hannelore Baron | Kabinett Sector\, Art Basel Miami Beach 2024
DESCRIPTION:Learn more
URL:https://artinamericaguide.com/event/hannelore-baron-kabinett-sector-art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
DTSTAMP:20260407T031502
CREATED:20241204T152613Z
LAST-MODIFIED:20241204T152613Z
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SUMMARY:Art Basel Miami Beach 2024
DESCRIPTION:Learn more
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241119
DTEND;VALUE=DATE:20250126
DTSTAMP:20260407T031502
CREATED:20241122T192403Z
LAST-MODIFIED:20241122T192403Z
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SUMMARY:18 Women: 50 Years
DESCRIPTION:View the complete exhibition checklist \nMichael Rosenfeld Gallery is pleased to announce 18 Women: 50 Years\, a group exhibition of some of the most innovative artists of the twentieth century\, each of whom has been integral to the gallery’s thirty-five-year history. On view from November 19\, 2024 through January 25\, 2025\, the presentation features over forty works in painting\, sculpture\, collage\, assemblage\, ceramic\, and textile produced between 1918 and 1968 by Magdalena Abakanowicz\, Ruth Asawa\, Mary Bauermeister\, Lee Bontecou\, Claire Falkenstein\, Nancy Grossman\, Blanche Lazzell\, Louise Nevelson\, Agnes Pelton\, Irene Rice Pereira\, Anne Ryan\, Betye Saar\, Esphyr Slobodkina\, Toshiko Takaezu\, Lenore Tawney\, Alma Thomas\, Charmion von Wiegand\, and Claire Zeisler. In the spirit of the large group exhibitions of vanguard artists organized by legendary curator Dorothy C. Miller at the Museum of Modern Art\, 18 Women: 50 Years provides a representative showing of each featured artist and\, collectively\, a survey of the women artists consistently championed by the gallery’s program.\n\nThough much progress has been made in contextualizing women artists within the larger narrative of twentieth-century art\, 18 Women: 50 Years seeks to emphasize the diversity of practices among the artists on view. Featuring traditional oil-on-canvas paintings\, radically nontraditional found-object assemblages\, as well as a rich selection of works executed in mediums traditionally designated as craft and unjustly excluded from fine art settings\, the presentation highlights the originality of these artists’ conceptual\, material\, and stylistic approaches. Each featured artist asserted a singular voice within the arena of modernism and its descendants while resisting the patriarchal strictures of the creative and institutional circles in which they moved. Bringing together standout works representative of a range of movements and milieus\, 18 Women: 50 Years provides a vivid summary of these artists’ incomparable contributions to the history of twentieth-century art.
URL:https://artinamericaguide.com/event/18-women-50-years/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241029
DTEND;VALUE=DATE:20241103
DTSTAMP:20260407T031502
CREATED:20241028T162315Z
LAST-MODIFIED:20241028T162315Z
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SUMMARY:Charles White at The Art Show\, Booth D16
DESCRIPTION:View the complete exhibition checklist \nBenefit Preview: Tuesday\, October 29\nWednesday\, October 30\, 12–7PM\nThursday\, October 31\, 12–7PM\nFriday\, November 1\, 12–7PM\nSaturday\, November 2\, 12–6PM \nVisit Michael Rosenfeld Gallery in Booth D16 \n“Actually\, I’ve only painted one picture in my entire life … I see my totality of 300 years of history of black people through one little fraction … a family … my family. … I don’t try to record it\, but use it symbolically to make a very broad universal statement about the search for dignity\, the search for a deeper understanding of the conflict and the contradictions of life … so that there is more to it than just the illustrative portrayal of a history of a family … what I’m trying to do is talk about the history of humanity.”[1]\n—Charles White (1918–1979) \nMichael Rosenfeld Gallery is pleased to participate in The Art Show 2024 with Charles White\, a solo exhibition of paintings and drawings from each period of the artist’s career with particular emphasis on the Civil Rights Movement era. Bringing together a compelling selection of major works dating from 1936 to 1975\, Charles White offers a concise survey of the artist’s style as it evolved over four decades in his relentless endeavor to affectively convey the humanitarian themes that were the primary concern of his art. \nActive in Chicago\, New York\, and Los Angeles\, Charles White produced a powerful body of figurative compositions depicting subjects drawn from the rich history of Black America and the world around him. His prolific oeuvre comprises social realist scenes\, narrative compositions of historical subjects\, and a large body of portraiture depicting political leaders\, creative luminaries\, and everyday Black Americans from all walks of life. White’s allegorical compositions of the 1960s are especially well-represented in Michael Rosenfeld Gallery’s presentation with a group of large-scale drawings that exhibit his masterful technical skill and directly address the social and political injustices endemic to Black American life. White’s art evolved through various styles over a forty-year period as he adapted his approach to adequately convey his shifting interests\, but he never wavered in his dedication to portraying Black Americans in “images of dignity\,” as he put it. \nHighlights of Charles White include two major portraits of venerated musical artists\, Paul Robeson (1973) and Leadbelly (1975). Commissioned by photographer and filmmaker Gordon Parks (1912–2006) for the promotional art and soundtrack album cover associated with the 1976 film Leadbelly—which Parks directed—White’s portrait is an elevating portrayal of the blues legend\, who he renders in titanic proportions reflective of the indelible impact he had on twentieth-century music. Paul Robeson is similarly monumental in scale but takes a tondo format\, focusing the eye on the baritone’s exquisitely rendered face gazing heavenward at a dappled beam of light. Chosen by White for its ties to Renaissance portraiture\, the tondo functions as “a framing device that subtly evokes a cosmic sense of the measureless or boundless.” [2] \nWhite’s Mural Study for Camp Wo-Chi-Ca (1945) is a rare preparatory drawing for a mural at the Worker’s Children’s Camp in New Jersey\, where he taught art and met his second wife\, Frances Barrett. Reflecting his admiration for the Mexican muralists and incorporating iconography from the indigenous cultures of the Pacific Northwest\, the traditional arts of Africa\, and the spiritual practices of the Far East\, the drawing synthesizes White’s diverse cultural interests while articulating his vision for an equitable standard of education that advances a cosmopolitan world view. Booth D16 also features prime examples of White’s beatific portrayals of Black women with Let the Light Enter (1961) and J’Accuse No.3 (1965). Dedicated to poet and abolitionist Frances Ellen Watkins Harper (1825–1911)\, Let the Light Enter is emblematic of White’s exalting portrayals of historical figures\, which often strove to recuperate overlooked or underknown leaders from Black American history while drawing parallels with the contemporaneous struggle for civil rights. J’Accuse No.3 belongs to a series titled after nineteenth-century French writer Émile Zola’s famous indictment of the French state’s systemic discriminatory practices that resulted in the Dreyfus Affair. Portraying a woman’s serene\, upturned face emerging from an ethereal\, swirling atmosphere of light and dark\, J’Accuse No.3 allegorizes the steadfast fortitude of innumerable anonymous civil rights activists who sought political justice from a prejudicial government. \nA primary example from the Nobody Knows My Name series—titled after James Baldwin’s 1961 essay collection—rounds out the exhibition’s focus on the 1960s. Illuminated by a crack of light in an otherwise dark space\, the subject of Nobody Knows My Name #1 (1965) is a young man who gazes into the space of the viewer with a calm seriousness. Poetically symbolizing the subject’s struggle for recognition from a society that seeks to ignore and suppress him\, the drawing epitomizes what art historian David C. Driskell wrote of White’s series and Baldwin’s book: “With genuine concern for having one’s presence acknowledged\, for being visible\, comes recognition that communal interaction is one of the things that makes us human.” [3] \nThe resurgent interest in Charles White’s life and oeuvre in recent years is in large part due to the landmark touring exhibition co-organized by the Art Institute of Chicago and The Museum of Modern Art in New York\, Charles White: A Retrospective (2018–19). Curated by Sarah Kelly Oehler\, the Institute’s Field-McCormick Chair and Curator of American Art\, and Esther Adler\, MoMA’s Associate Curator of Drawings and Prints\, the exhibition presented over one hundred works dating from 1935–79. Two major works on view in Michael Rosenfeld Gallery’s Art Show 2024 presentation were recently featured in the critically renowned historical survey Going Dark: The Contemporary Figure at the Edge of Visibility at the Solomon R. Guggenheim Museum in New York (October 2023–April 2024)\, curated by Ashley James\, the museum’s Associate Curator of Contemporary Art. \nMichael Rosenfeld Gallery has championed the work of Charles White for over thirty years. The artist was a fixture of the gallery’s acclaimed annual exhibition series African American Art: 20th Century Masterworks (1994–2003)\, and in 2009 the gallery mounted Charles White: Let the Light Enter\, Major Drawings 1942–1970\, the catalogue for which first published a 1960s radio interview with the artist released to the gallery by the Charles White Archives. In 2018\, the gallery organized the widely praised exhibition Truth & Beauty: Charles White and His Circle\, which surveyed the artist’s career while contextualizing his work within a larger milieu of figurative artists whose work addressed social and political subjects. The accompanying catalogue published texts discussing White’s art\, career\, and influence by Benny Andrews\, Romare Bearden\, John Biggers\, Eldzier Cortor\, Ernest Crichlow\, Jacob Lawrence\, Hughie Lee-Smith\, and Hale Woodruff. \n1. Charles White quoted in Edmund W. Gordon\, “First and foremost\, an artist” in Freedomways: A Quarterly Review of the Freedom Movement vol. 20\, no. 3\, special issue “Charles White: Art and Soul” (1980): 137\n2. John P. Murphy\, “Vision\, 1973\,” in Veronica Roberts\, ed.\, Charles White: The Gordon Gift to The University of Texas (Austin\, TX: Blanton Museum of Art\, The University of Texas at Austin\, 2019)\, 37.3.\n3. David C. Driskell\, “Foreword\,” in Andrea D. Barnwell\, Charles White(Rohnert Park\, CA: Pomegranate Communications\, Inc.\, 2002)\, ix
URL:https://artinamericaguide.com/event/charles-white-at-the-art-show-booth-d16/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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SUMMARY:Michael Rosenfeld Gallery at The Armory Show\, Booth 312
DESCRIPTION:VIP Preview (Invitation Only): Thursday\, September 5\nFriday\, September 6\, 11AM–7PM\nSaturday\, September 7\, 11AM–7PM\nSunday\, September 8\, 11AM–6PM
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-the-armory-show-booth-312/
LOCATION:The Armory Show at the Javits Center\, 11th Avenue at 35th Street\, New York\, NY\, NY\, 10001\, United States
CATEGORIES:Art Fair
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SUMMARY:Romare Bearden & Nancy Grossman: Collage in Dialogue
DESCRIPTION:Opening Reception: Saturday\, September 7\, 5-8PM \nCollage comes the closest to reality. It is the only way to make the disparate and ill-fitting parts of a life\, an identity\, an elegantly seamless experience. It satisfies both the urgent and the substantive thirst.[1] \n—Nancy Grossman \nI feel that when some photographic detail\, such as a hand or an eye\, is taken out of its original context and is fractured and integrated into a different space and form configuration\, it acquires a plastic quality it did not have in the original photograph…Art\, it must be remembered\, is artifice\, or a creative undertaking\, the primary function of which is to add to our existing conception of reality.[2] \n—Romare Bearden \nMichael Rosenfeld Gallery is pleased to present Romare Bearden & Nancy Grossman: Collage in Dialogue\, an exhibition focused on the artistic exchange between two leading innovators of the medium. Though Bearden was a generation older than Grossman\, the artists initiated their collage practices within a year of each other—Grossman in 1962 and Bearden in 1963—and shared crucial developments in their technique through a continuous dialogue. Brought together through the cultural milieu fostered by their dealer at the time\, Cordier & Ekstrom Gallery\, the two artists remained close friends until Bearden’s death\, forging a vital rapport that shaped their practices and lives. \nThe works presented in Romare Bearden & Nancy Grossman: Collage in Dialogue reveal surprising alignments between the artists’ collage oeuvres despite divergent subject matter and stylistic approaches. Both artists repurposed excerpts from previous artworks into material for new collages and applied various pigments (ink\, acrylic\, watercolor) to elements of many works in order to energize the composition. Where Bearden’s collages explore memory and autobiography within larger cultural narratives\, Grossman’s collages are deeply psychological explorations of the human condition expressed via an open-ended material experimentation. \nBearden and Grossman’s works were shown together in group exhibitions at Cordier & Ekstrom as well as institutional venues beginning in the late 1960s\, around the time that their friendship blossomed. This trend continued throughout the 1970s and 1980s\, most notably in the Smithsonian Institution Traveling Exhibition Service (SITES) exhibition Collages: Selections from the Hirshhorn Museum and Sculpture Garden organized by Howard Fox\, which toured the country from 1978–82. The two artists nurtured their friendship through regular studio visits\, enthusiastic support of each other’s exhibitions\, and numerous events related to their shared social circles. Grossman recalls long conversations with Bearden about art\, food\, and life unfolding during their studio visits\, and she cherished the correspondence she received from him. \nA particularly formative exchange between the two artists occurred shortly after 1967\, when Bearden began sharing a studio with Jack Schindler\, a commercial designer. Bearden had been experimenting with various supports for his new body of collage works\, and Schindler suggested he use Masonite to mitigate the warping that occurred as the adhesive dried. Grossman had encountered a similar issue with her own collages around this time\, and Bearden had consulted conservators at The Metropolitan Museum of Art regarding various treatments to stabilize their images. The solution arrived one day in the form of a rain-spotted note taped to Grossman’s mailbox: in Bearden’s hand\, it read\, “Glue paper to the back.” Sure enough\, after adhering papers to the verso in equal weight to the materials on the front\, both sides of the Masonite shrunk in sync and the surface remained flat. \nYears later\, Grossman honored Bearden and his technical revelation through the incorporation of his note into her complexly layered\, large-scale collage Exploding Tongues – Untied Scape (1993)\, which features prominently in Collage in Dialogue. Both Grossman and Bearden maintained a vast cache of found and collected paper materials that held deeply personal significance to them\, and Grossman’s retention of Bearden’s note over twenty-six years is emblematic of the artists’ accumulative tendencies. Exploding Tongues – Untied Scape is titled after experimental filmmaker Marlon Riggs’ landmark video essay dedicated to Black gay love\, Tongues Untied (1989)—an apt tribute given the repeated presence of labels from sardine tins that were gifted to Grossman from her partner\, the art historian Arlene Raven\, rendering the collage a poignant\, recombinant expression of love and friendship. \nFeaturing thirty-five works dating from 1962 to 1993\, Romare Bearden & Nancy Grossman: Collage in Dialogue constitutes a concise survey of the collage oeuvres of both artists. Major examples from Bearden’s Of the Blues series\, a group of collages referencing specific narratives from the history of blues and jazz\, will be featured alongside portrayals of Black culture in the locations that had the greatest impact on his life\, namely New York City\, Pittsburgh\, and North Carolina. The Grossman collages on view fall roughly into two categories: abstracted landscapes and renditions of the figure. The latter comprise featureless\, masculine forms posed in positions of restraint\, and directly relate to her iconic leatherbound head sculptures\, as she repurposed the patterns used to cut the leather into collage media. Grossman’s “landscapes” typically take the form of horizontally oriented\, allover compositions with varying levels of formal density and often bear references to her personal life in the form of old maps\, tickets\, letters\, and photos. A fractured quality runs throughout both artists’ collage oeuvres; seams\, tears\, and disjointed scales between elements are emphasized\, rather than ameliorated\, transmuting the dissonance of lived existence into a new\, harmonious whole. \nWhere the structures of Bearden’s collages are informed by his deep\, comprehensive knowledge of Western art history—especially the Old Masters and traditional African material culture—Grossman’s compositions are direct descendants of modernism\, often evoking abstract expressionist landscapes or surrealist renditions of the figure. Notably\, both artists began their careers as painters and evolved into multimedia practices in pursuit of a truer vision of their lived experience. Indeed\, the formal relationship between their work was perhaps best summarized by the artist Nayland Blake in the catalogue for Grossman’s 2012 career retrospective\, when he wrote that Bearden’s collages create “poems of the black body and urban space. Grossman’s collages start from a similar place but veer off in the direction of a planar mosaic. While Bearden appeals to our urge to reconfigure the fragmented space into narrative… [Grossman’s] collages are not windows to be seen through\, even when she presents imagery of a landscape; we are meant to see the land itself as skin\, creased and permeable.”[3] \nAugmenting the artworks on view in Romare Bearden & Nancy Grossman: Collage in Dialogue will be a vitrine dedicated to archival materials featuring correspondence\, exhibition ephemera\, and personal photos as well as an illustrated map charting the locales Bearden and Grossman frequented throughout the decades\, providing illuminating context to these artists’ enduring friendship. \nMichael Rosenfeld Gallery has championed the work of Romare Bearden and Nancy Grossman for over thirty years\, featuring both artists in numerous solo and group exhibitions. Romare Bearden & Nancy Grossman: Collage in Dialogue is the third exhibition the gallery has dedicated to Romare Bearden\, after Fractured Tales: Intimate Collages (2006)\, for which a catalogue was published\, and the critically acclaimed Romare Bearden (1911–1988): COLLAGE\, A Centennial Celebration (2011). After taking on representation of Nancy Grossman in 1997\, Michael Rosenfeld Gallery mounted five solo exhibitions: Loud Whispers\, Four Decades of Assemblage\, Collage\, and Sculpture (2001)\, which was accompanied by a catalogue publishing new scholarship by Lowery Stokes Sims; Drawings (2007); Combustion Scapes (2011); The Edge of Always (2014); and My Body (2022). \n[1] Nancy Grossman\, artist statement for It’s Only a Paper Moon: The Universe as Collage\, Shirley Fiterman Gallery\, Borough of Manhattan Community College\, City University of New York\, August 16 – September 28\, 1994. \n[2] Romare Bearden\, “Rectangular Structure in My Montage Paintings\,” Leonardo 2 (January 1969)\, 17-18. \n[3] Nayland Blake\, “Misrecognized\,” in Ian Berry\, ed. Nancy Grossman: Touch Life Diary\, exh. cat. (Saratoga Springs\, NY: The Francis Young Tang Teaching Museum and Art Gallery\, 2012)\, 106
URL:https://artinamericaguide.com/event/romare-bearden-nancy-grossman-collage-in-dialogue/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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SUMMARY:Art Basel Miami Beach 2023\, Booth A17
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present a group exhibition of American masterworks representative of the gallery’s historically grounded and culturally diverse program. Spanning eight decades\, the majority of works on view are standout examples of midcentury American painting\, sculpture\, and works on paper by the artists that have been the backbone of the gallery’s program since its founding in 1989. Featured artists include Charles Alston\, Benny Andrews\, Ruth Asawa\, Milton Avery\, Hannelore Baron\, Richmond Barthé\, Mary Bauermeister\, Romare Bearden\, Harry Bertoia\, Joseph Cornell\, Harold Cousins\, Sam Gilliam\, Michael Goldberg\, Nancy Grossman\, Hans Hofmann\, Lee Krasner\, Yayoi Kusama\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Alice Neel\, Alfonso Ossorio\, Irene Rice Pereira\, Milton Resnick\, Betye Saar\, Alma Thomas\, Bob Thompson\, Mark Tobey\, Charles White\, Jack Whitten\, Charmion von Wiegand\, William T. Williams\, and Hale Woodruff. \nOrganized into sections exploring a range of disciplines and stylistic approaches\, Booth A17 includes a Kabinett installation featuring a stunning selection of fifty small-scale works by Claire Falkenstein (1908–1997) from her celebrated Fusion series of abstract metal and glass sculptures. Drawn from the holdings of the artist’s Foundation\, the vast majority of the delicate\, intimately sized works on view in Michael Rosenfeld Gallery’s presentation have never been publicly exhibited. \nComposed of welded metal and melted glass\, Claire Falkenstein’s Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. Executed over a thirty-year period\, from the mid-1950s through the mid-1980s\, the Fusions constitute Falkenstein’s most sustained exploration of the possibilities inherent to a particular technical approach to sculpture. These works are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes; some are quite minimalist\, while others are a dense tangle of metal with many colors of glass. The small-scale Fusions on view in Booth A17 demonstrate the sculptor’s singular range; also a successful jewelry designer\, Falkenstein is widely remembered for her large-scale public artworks and architectural installations\, yet observers of her delicately diminutive works will see that the formal and material nuance for which her oeuvre is celebrated is consistent across her work of all scales. Testifying to her unique ability to execute minutely intricate works without losing any formal or conceptual power\, the small-scale Fusions embody the fundamental concepts that shaped Falkenstein’s visual vocabulary throughout her career. \nIn addition to the Kabinett installation\, Michael Rosenfeld Gallery’s Art Basel Miami Beach presentation features key works shown in the gallery’s exhibition program of the past year\, presenting highlights from the exhibitions Harold Cousins: Forms of Empty Space\, Bob Thompson: Agony & Ecstasy\, and Norman Lewis: Give Me Wings To Fly. A major canvas by Thompson\, Untitled (The Proofing of the Cross) (1963)\, exemplifies the painter’s prescient approach to figurative expressionism and his signature appropriative technique. Executed while he was living in Spain\, Thompson’s painting riffs on the compositional structure of Piero della Francesca’s Proofing of the Cross\, the Legend of the True Cross (1455–66) in the Basilica of San Francesco in Arezzo\, Italy\, transmuting a Renaissance rendition of a Christian legend into a psychedelic tableaux of otherworldly\, animalistic creatures engaged in an enigmatic ritual that evokes\, as curator Slade Stumbo writes\, “a sense of a dream state which is furthered by the fantastic setting that is absent of any reference to any actual place. Thompson’s overarching theme in this work becomes the movement between realms\, metamorphosis.” Also on view at Booth A17 is a large-scale work featured in the gallery’s recent solo exhibition William T. Williams: Tension to the Edge (September 8–November 5\, 2022) titled Avon\, Rainmakers Piss (1970)\, an important canvas from the artist’s earliest mature body of work. A concise selection of works similar to those exhibited in the gallery’s current show\, Mary Bauermeister: Fuck the System—recently deemed a “Must-See” by Artforum—will complete the overview. \nAugmenting the wall-sized paintings installed on the booth’s exterior is an alcove dedicated to figuration. A large collage painting by Benny Andrews\, Thanks (1977)\, hangs adjacent to a quintessential portrait by one of Andrews’ good friends\, Alice Neel\, as well as one of Beauford Delaney’s most accomplished portraits depicting the influential journalist and critic Colin Gravois. Across the booth from this section is another alcove dedicated to material explorations of collage and assemblage\, featuring an abstract painted canvas collage by Conrad Marca-Relli\, a striking “Congregation” by Alfonso Ossorio from his celebrated series of intricate found-object assemblages\, and a historic\, large-scale paper collage by Romare Bearden from his Of the Blues series dedicated to the key players\, composers\, songs\, and locales that were integral to the blues and jazz music that deeply informed the artist’s practice. \nMichael Rosenfeld Gallery is recognized for its commitment to advancing an expanded view of twentieth- and twenty-first century American art. For over three decades\, the gallery has presented an ambitious and diverse exhibition program informed by a progressive vision and an inclusive understanding of art history. Through the championing and recontextualization of works by a range of important twentieth-century artists\, Michael Rosenfeld Gallery remains committed to expanding the canon of American art. A member of the Art Dealers Association of America (ADAA) since 2000\, Michael Rosenfeld Gallery proudly represents the distinguished living artists Nancy Grossman and William T. Williams\, as well as the estates and families of Benny Andrews\, Hannelore Baron\, Mary Bauermeister\, John Biggers\, Federico Castellon\, Harold Cousins\, Beauford Delaney\, Claire Falkenstein\, Michael Goldberg\, Morris Graves\, Norman Lewis\, Seymour Lipton\, Boris Margo\, Alfonso Ossorio\, Theodore Roszak\, Louis Stone\, Bob Thompson\, and Charmion von Wiegand.
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2023-booth-a17/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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SUMMARY:Kabinett Sector\, Art Basel Miami Beach | Claire Falkenstein: Fusions
DESCRIPTION:Michael Rosenfeld Gallery is proud to participate in the Kabinett sector of Art Basel Miami Beach with an installation of twenty-four small-scale sculptures by Claire Falkenstein (1908–1997) from her celebrated Fusion series. Drawn from the holdings of the artist’s Foundation\, the vast majority of the intimately sized works on view have never been publicly exhibited. \nAn interdisciplinary artist whose career spanned seven decades\, Claire Falkenstein does not fit easily into any school or movement. Comprising a wide variety of mediums—wood\, ceramic\, and metal sculpting\, painting\, prints\, jewelry\, and more—the Fusions are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes. Composed of welded metal and melted glass\, the Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. \nFalkenstein developed the Fusions after a trip to Venice\, Italy inspired her to incorporate Murano glass into her sculpture. Material experimentation was a cornerstone of Falkenstein’s artistic practice throughout her career\, and the Fusions came about through a methodical process of trial and error. After determining the precise temperature required to securely bond the glass and metal\, Falkenstein developed the technique through which all Fusions were made: She first created a welded metal armature into which she placed pieces of glass in specific joints\, “as a jeweler sets a jewel.” The object was then fired in a kiln until the two materials “fused\,” allowing the final form to be determined by the uncontrolled interaction between the glass and metal. Scholar Maren Henderson writes of the Fusions: \n“[Experiment]\, especially with an element of risk\, was now a fully realized sculptural method. Process itself was an authentic aesthetic expression\, as were chance and anti-form. The Fusions carried materials to the breaking point\, testing their essential character to the degree of altering or even destroying them. Glass was heated well beyond becoming malleable to the point where it collapsed or even burned. Sheet metal surfaces were heated until they warped. Edges were torn\, scarred or burned. Accidents were welcomed. And chance became a significant component of the process and the result.”[1] \nFalkenstein’s prolific experimentation with the Fusion sculptures resulted in a diverse body of work. Fusions exist in a wide range of configurations\, with some embodying a minimalist approach while others are densely complex; likewise\, some examples exhibit a kaleidoscopic array of colors\, while others contain only one or two. \nBorn and raised in the Pacific Northwest\, Falkenstein felt a deep appreciation of the region’s natural beauty\, and the visual contrast between the dense woodlands set against the flowing sea became a major trope in her art. Concentrating in art\, philosophy\, and anthropology at the University of California\, Berkeley\, Falkenstein was awarded her first solo exhibition by the East-West Gallery in San Francisco in 1930\, the same year she graduated—a rare achievement for such a young artist. In 1933\, Falkenstein received a grant to study at Mills College in Oakland under Cubist sculptor Alexander Archipenko. Her sculptures of the 1930s and 1940s comprise biomorphic abstractions rendered in wood and ceramic. Her work was first shown in New York City in 1944\, when the Bonestell Gallery mounted a solo exhibition. In the late 1940s\, she began teaching at the California School of Fine Arts (now the San Francisco Art Institute)\, where she met abstract expressionist painter Clyfford Still\, who became a lifelong friend and encouraged her to take a more open-ended approach to composition. \nIn 1950\, Falkenstein moved to Paris\, settling into the growing scene of American abstract artists there and soon befriending Sam Francis\, Paul Jenkins\, and Mark Tobey. A thoroughly individual artist who never sought association with a particular school or movement\, Falkenstein attributes her confidence in her unique sensibility partly to her time in Paris\, explaining\, “the French allowed a kind of individual action. …I felt it so strongly that right away my so-called ‘looking within’ really worked. That’s when I developed my own vocabulary.’”[2] Feeling a new sense of freedom\, she began working in metal and soon developed the artistic vocabulary that became the bedrock of her mature style. Her work was supported by the influential critic Michel Tapié\, who defined “art autre” as a European parallel to American abstract expressionism. Writing in the catalogue for her 1958 exhibition at Il Segno Gallery in Rome\, Tapié lauded\, “Claire Falkenstein is probably the artist who has most brought Sculpture to the heart of what the artistic epopee of today must be.” \nFalkenstein returned to the United States in 1963\, settling in Venice\, California\, where she would remain for the rest of her life. She continued to produce a wide variety of Fusions through the mid-1980s. Represented by Galerie Stadler in Paris and Martha Jackson Gallery in New York\, Falkenstein completed numerous public commissions while continuing to evolve her studio practice until her death. Her first public commission in Los Angeles was a welded copper tube and glass fountain for the California Federal Savings and Loan Association. Completed in 1965\, the Cal Fed Fountain was specially designed by Falkenstein to emphasize that the water that flowed through the construction was as integral to the sculpture’s composition as the complexly intertwined copper and glass elements\, resulting in the impression of an endless\, dynamic formal continuity. \nAfter regularly exhibiting her work for fifteen years\, Michael Rosenfeld Gallery became the exclusive representative of The Falkenstein Foundation in 2014. The gallery has since mounted two solo exhibitions\, Claire Falkenstein: A Selection of Works from 1955–1975 (2016) and Claire Falkenstein: Matter in Motion (2018)\, the latter of which was accompanied by a catalogue featuring an interview by Paul J. Karlstrom\, former director of the Archives of American Art\, and a tribute by Lynda Benglis. \n[1] Maren Henderson\, “Sculpture\,” in Claire Falkenstein (Los Angeles\, CA: The Falkenstein Foundation\, 2012)\, 108. \n[2] Oral history interview with Claire Falkenstein\, 1995 Mar. 2-21\, Archives of American Art\, Smithsonian Institution. http://www.aaa.si.edu/collections/interviews/oral-history-interview-claire-falkenstein-12659 \n 
URL:https://artinamericaguide.com/event/kabinett-sector-art-basel-miami-beach-claire-falkenstein-fusions/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20230907
DTEND;VALUE=DATE:20231105
DTSTAMP:20260407T031502
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SUMMARY:Norman Lewis: Give Me Wings To Fly
DESCRIPTION:“[Norman Lewis’ works on paper] are visually unique\, intellectually demanding\, and extremely beautiful in the deliberateness of their hybridity and ambiguity. …The artist’s concern for his viewers\, as well as himself\, is profoundly embedded into the generosity by which Norman Lewis embraced\, demanded\, and believed in the power of art to alter the world intuitively and purposefully.”\n—Ruth Fine \nMichael Rosenfeld Gallery is pleased to present Norman Lewis: Give Me Wings To Fly\, the gallery’s sixth solo exhibition dedicated to the artist. A vital member of the first generation of abstract expressionists\, Norman Lewis (1909–1979) executed hundreds of works on paper throughout his career\, considering the medium to be of equal importance to his pursuits on canvas or board. Give Me Wings To Fly features sixty works dating from 1935 through 1978 that collectively trace the major developments of the artist’s visual language and reveal his immense range in subject\, technique\, and style. The exhibition will be accompanied by an online catalogue publishing new scholarship by art historian and Norman Lewis expert Ruth Fine. Now an independent curator\, Fine retired from her position as a curator at The National Gallery of Art in 2012\, after four decades at the museum. In 2015\, she curated the critically acclaimed traveling exhibition Procession: The Art of Norman Lewis\, organized for the Pennsylvania Academy of the Fine Arts (PAFA). \nBorrowing its title from a 1954 ink drawing included in the exhibition\, Give Me Wings To Fly constitutes a succinct microcosm of Lewis’ body of works on paper\, highlighting standout compositions from each phase of the artist’s career. The staggering range of Lewis’ technical and stylistic experimentation is perhaps most evident in his paper oeuvre\, which ranges from elegantly spare explorations of calligraphic linework to densely atmospheric\, allover compositions executed in oil\, gouache\, and pastel. Lewis often used his works on paper as arenas for the exploration of new compositional processes and formal vocabularies\, rendering this expansive body of work a vital key to understanding his overarching artistic concerns. \nOrganized according to the major stylistic turns in Lewis’ career\, Give Me Wings To Fly attests to Lewis’ friend\, the sociologist Julian Euell’s observation that he was “a master at working in several idioms at the same time.” The earliest works on view are a rare group of representational pastels dating to 1935 that portray a selection of the traditional West and Central African artifacts Lewis admired in the Museum of Modern Art’s African Negro Art exhibition of the same year. These drawings are installed alongside vitrines displaying a selection of Lewis’ sketchbooks on loan from the artist’s archive\, allowing visitors to follow the evolution of his prevailing motifs from their nascent conception to their fully developed execution in the adjacent galleries. \nThe artist’s gift for simultaneously investigating multiple formal and conceptual concerns within a single period of his career—and sometimes\, within a single work—is demonstrated by a group of drawings representative of Lewis’ initial foray into abstraction. Disillusioned with the Social Realist mode that defined his early career and inspired by the European cubists and surrealists he had been studying\, Lewis executed a series of drawings inspired by architectural designs specific to his Harlem surrounds. Doors\, windows\, fire escapes\, stoops\, gates\, and other structures provided the formal basis for several compositions of varying levels of abstraction executed from 1945–46\, and the kernels of what would become Lewis’ visual vocabulary are apparent in these pivotal drawings. \nLargely self-educated\, Lewis was endlessly curious and maintained a large personal library of books on a wide variety of subjects ranging from Bauhaus architecture\, English and French literature\, Classical music\, East Asian calligraphy\, mystic ritual\, and more. Like many of his New York School peers\, jazz was also a constant source of inspiration for Lewis\, who frequented jazz clubs and maintained an expansive collection of records. His spiritual and intellectual engagement with blues\, bebop\, and free jazz is evident in his approach to abstract expressionism\, wherein specific themes are amplified\, expanded upon\, and embellished as a musician would riff on a melody—a tendency that lent itself to the immediacy inherent to the medium of drawing. \nThe transcendent results of the artist’s diverse interests and methodical explorations of abstraction’s evocative power are perhaps most observable in the exacting\, minimalist ink drawings from the late 1940s and 1950s on view. Lewis’ lyrical\, spare compositions of this period reveal his burgeoning interest in Chinese calligraphy\, which approximately coincided with his adoption into the Willard Gallery stable of artists in 1946. Known for its program of American abstractionists with an interest in the philosophies and aesthetics of East Asian cultural traditions\, Willard Gallery brought together such luminaries as Mark Tobey and Morris Graves\, whose travels to China and Japan deeply influenced their artistic sensibilities\, and Japanese émigré painter Genichiro Inokuma\, with whom Lewis developed a close friendship. \nAs the 1950s and 1960s progressed\, Lewis expounded on his major stylistic concerns\, resulting in a proliferation of works that deeply investigate or inventively combine his distinct abstract vocabularies. Give Me Wings to Fly highlights quintessential examples of Lewis’ energetic “little people” compositions\, wherein repeated linear motifs indicative of the figure are arranged in a variety of contexts. In his atmospheric compositions\, ethereal swathes of pigment are often applied to indicate dimensional space such as land\, city\, or seascapes\, conjuring images that simultaneously evoke cloud formations and a human torso\, or the rise and fall of ocean waves and mountain ridgelines. Similarly\, the artist’s stylized linework often indicates the presence of a figure\, glyph\, or audial event\, such as the frenetic syncopations of bebop and the branches of a barren tree. \nThough he resided in Manhattan all his life\, Lewis held a deep appreciation for the natural world\, maintaining a lush indoor garden of potted plants in his studio and keeping pet birds. Arboreal and botanical motifs recur throughout his oeuvre\, as do ornithological references often intended to be read as metaphors for sociopolitical struggle. Despite remaining dedicated to abstraction from the 1940s onward\, Lewis’ activism and political views are apparent in numerous works\, including the totem-themed line drawing Too Much Aspiration (c.1953)\, an untitled composition from 1968 centered on a semi-abstract linework indicative of a line of hands grappling in a game of tug-of-war\, and an atmospheric work from 1974 featuring a sequence of ascending rectilinear edges executed in a palette of red\, black\, and green—the colors of the Pan-African flag. \nIn the years 1929 to 1932\, Lewis worked as a merchant sailor for a line of commercial freighters\, and this experience sparked an enduring interest in nautical subjects. Thematic explorations of the sea extend across his entire career\, eventually culminating in his final series of compositions\, known as the Seachange works\, several examples of which are on view. The echoing\, ovoid motif centered in these works was inspired by the artist’s travels to Greece in the summer of 1973\, when Lewis and his wife Ouida visited the artist Jack Whitten at his summer residence in Crete. Lewis’ sketchbooks from this visit reveal a resurgent interest in themes referencing the ocean and\, specifically\, a desire to capture the movement and sound of seaside winds in a visual format. These works are also read by many art historians as a metaphor for Lewis’ newfound hopes for American society in the wake of the hard-won freedoms brought about by the civil rights activists and politicians who advocated for justice and racial equality in the preceding decades. \nNorman Lewis: Give Me Wings To Fly is Michael Rosenfeld Gallery’s third solo exhibition on the artist since taking on representation of the estate in 2014. The gallery has been a vocal champion of Lewis’ art for over thirty years: his work was regularly featured in the gallery’s celebrated African American Art: 20th Century Masterworks series (1993–2003)\, and the gallery has mounted five previous solo exhibitions dedicated to Lewis\,  two of which were also dedicated to his works on paper: Norman Lewis: Intuitive Markings\, Works on Paper\, 1945–1975 (1999); Norman Lewis: Abstract Expressionist Drawings\, 1945–1978 (2009); Norman Lewis: PULSE\, A Centennial Exhibition (2009); Norman Lewis: A Selection of Paintings and Drawings (2016); and Norman Lewis: Looking East (2019).
URL:https://artinamericaguide.com/event/norman-lewis-give-me-wings-to-fly/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles 2023
DESCRIPTION:Following the success of our inaugural presentation at Frieze LA last year\, Michael Rosenfeld Gallery is pleased to return to Los Angeles with a solo exhibition of works by Bob Thompson (1937–1966) organized in complement to the recent traveling retrospective Bob Thompson: This House Is Mine\, which concluded its nationwide tour at UCLA’s Hammer Museum in January. The gallery’s presentation at Frieze LA 2023 constitutes Michael Rosenfeld Gallery’s fifth show on Thompson and our first solo exhibition of the artist since acquiring the estate in 2019. The presentation at Frieze serves as a preview to an upcoming solo exhibition of the artist’s work that will be on view from April 1–May 26\, 2023\, in the gallery’s ground floor space in Chelsea.  \nSixteen major paintings and over thirty works on paper are on view at Michael Rosenfeld Gallery’s Booth A15\, constituting a succinct\, vibrant survey of Thompson’s visionary oeuvre. The works on view were executed between 1958\, the year the artist moved to New York\, and 1966\, the year he passed away in Rome\, providing a compelling synopsis of Thompson’s career. Both our Frieze presentation and the upcoming gallery show include works that have not been publicly exhibited in decades as well as several works that appeared in This House is Mine. \nIn a tragically brief life\, Bob Thompson created a complex body of work structured by his own symbolic lexicon\, fauvist palettes\, and compositional devices drawn from the European Old Master tradition. As inspired by the improvisational riffs of jazz as he was by the formal tropes of Goya\, Poussin\, and Tintoretto\, Thompson’s viscerally executed paintings conjure a psychedelic allegory of his own experience. Often set in a pastoral countryside or dense woodlands\, Thompson’s scenes are populated by Madonnas and saints\, monstrous birds\, anthropomorphic donkeys\, shadowy men in fedoras\, and much\, much more. During the years he lived in New York\, the artist was deeply immersed in the avant-garde scene of Manhattan’s Lower East Side\, participating in Fluxus happenings\, befriending Beatniks such as Allen Ginsberg and LeRoi Jones\, and frequenting the city’s legendary jazz clubs\, including the 5 Spot and Slugs’ Saloon. \nA chance encounter with the work of German Expressionist Jan Müller (1922–1958) in the summer of 1958 set Thompson on a path to his mature style; Müller’s raw\, flatly rendered allegorical paintings were a revelation to Thompson\, and he sought out the artist’s widow Dodi Müller\, to learn more; she advised him to eschew extended study of contemporary art in favor of close consideration of the Old Masters. Thompson subsequently took advantage of every opportunity to sketch the works of Old and Modern masters in the U.S.\, visiting the Barnes Collection in Philadelphia and frequenting The Metropolitan Museum of Art. He also took several long sojourns in Europe with the aid of travel grants and\, after his career took off\, his own funds. Sketching daily at the Louvre and various historical sites in Spain and Italy provided the artist with a seemingly infinite supply of fodder for his increasingly complex and monumental compositions.  \nThe paintings and drawings on view at Frieze LA collectively represent the richness of Thompson’s oeuvre\, portraying myriad subjects and converging a broad range of art historical references. Among the sixteen works on canvas are Harvest Rest (1964) and The Golden Ass (1963)\, which reimagine Pieter Bruegel the Elder’s The Harvesters (1565) and a scene from Francisco de Goya’s Los Caprichos (1797–99)\, respectively. Among the selection of works on paper will be Thompson’s spontaneous line drawings of various musicians he observed at the downtown jazz venues he haunted\, including Cannonball Adderley\, Art Blakey\, Bob Cranshaw\, John Ore\, and Sonny Rollins. \n“Thompson understood the power of the works he used and their place in the history of art\,” writes curator Thelma Golden in the text accompanying Thompson’s 1998 retrospective at the Whitney Museum of American art\, which she and Judith Wilson curated. “Western art offered him something which he assumed was his right to use freely. He was also clear about his desire to make these works his own: inflect their vocabulary with his grammar; infuse the agreed-upon meanings with his intention. To claim them. To signify. …Thompson’s art lay not simply in the restatement\, but in the revision and replacement of these familiar passages—a philosophy that brings him into a direct affinity with his jazz musician contemporaries as well as with an entire generation of African American artists who followed his strategy.”   \nCurated by Diana Tuite for the Colby College Museum of Art (Waterville\, ME)\, Bob Thompson: This House Is Mine garnered widespread acclaim throughout its four-city national tour. The exhibition was the first solo exhibition of Thompson’s work at a museum since the 1998 Whitney show. Following its opening at the Colby Museum in July 2021\, This House is Mine traveled to the Smart Museum in Chicago\, the High Museum in Atlanta and the Hammer Museum in Los Angeles. A beautifully designed\, fully illustrated catalogue published in association with Yale University Press features an impressive group of contributors\, including curators Lowery Stokes Sims and Robert Cozzolino; art historians Adrienne L. Childs\, Bridget R. Cooks\, Jacqueline Francis\, and George Nelson Preston; and artists Henry Taylor\, Alex Katz\, and Rashid Johnson.  \nMichael Rosenfeld Gallery’s relationship with the work of Bob Thompson dates to 1996\, when the gallery took on representation of the estate and mounted Bob Thompson: Heroes\, Martyrs & Spectres at our 57th Street location. Three more solo exhibitions followed: Fantastic Visions (1999)\, Meteor in a Black Hat (2005)—which traveled to the Haggerty Museum of Art at Marquette University in Milwaukee—and Naked at the Edge: Bob Thompson\, which opened at the gallery’s current Chelsea location in 2015. The gallery published accompanying catalogues for the first three exhibitions\, featuring texts by the artist’s widow Carol Thompson and jazz critic Stanley Crouch. Following twenty-three years of representation\, Michael Rosenfeld Gallery acquired the Estate of Bob Thompson in 2019\, a monumental procurement that included all remaining works in the family’s possession\, numerous artist sketchbooks\, and the artworks’ intellectual property rights.
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-frieze-los-angeles-2023/
LOCATION:Frieze Los Angeles\, 3233 Donald Douglas Loop S\, Santa Monica\, CA\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20230326
DTSTAMP:20260407T031502
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SUMMARY:Harold Cousins: Forms of Empty Space
DESCRIPTION:Michael Rosenfeld Gallery is pleased to announce Harold Cousins: Forms of Empty Space\, the first solo exhibition of the artist’s work in the United States in fifteen years. Comprising thirty metal sculptures executed between 1951 and 1975 as well as a group of related works on paper\, the presentation is the gallery’s first exhibition dedicated to Harold Cousins (1916–1992) since taking on representation of the artist’s estate in 2020. Beginning with his first mature metal sculptures\, Harold Cousins: Forms of Empty Space charts the formation and evolution of Cousins’ major sculpture series\, including his forests\, drawings in space\, Gothic cathedrals\, and plaiton works.
URL:https://artinamericaguide.com/event/harold-cousins-forms-of-empty-space/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220624T100000
DTEND;TZID=America/Halifax:20220803T180000
DTSTAMP:20260407T031502
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SUMMARY:Summer At Its Best
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present Summer At Its Best\, a group exhibition that celebrates the halcyon days\, sultry nights\, and scenic vistas of our most beloved season. On view from June 24 through August 5\, 2022\, Summer At Its Best traces nearly a century of American painting\, sculpture\, and works on paper\, providing visions of the season’s fleeting passions\, leisurely idylls\, and chromatic richness. The exhibition borrows its title from a 1968 painting by Alma Thomas included in the show that encapsulates the spirit of the presentation in both form and concept: arraying daubs of saturated\, warm colors in rhythmic sequences across the canvas\, Thomas masterfully captures the flitting light and vivid palette of summer’s landscape. \nSummer At Its Best offers an abundance of juxtapositions that reveal unexpected harmonies in the eclectic selection of works on view. Expressionistic gestures inspired by the rise and fall of the sea are the prevailing formal and thematic concerns of ceramicist Toshiko Takaezu’s Ocean’s Edge vessels from the early 1990s\, as well as Beauford Delaney’s fauvist portrayal of a day spent sailing off the coast of Maine (1951) and Norman Lewis’ masterful abstraction of the sea’s upheavals\, Seachange (1976). A standout example of Delaney’s swirling\, allover paintings of pure light is situated in conversation with a Joseph Cornell box of the late 1950s\, where an anthropomorphic sun excerpted from the compulsive collector’s library of printed matter beams down over a collage dedicated to the souvenirs of distant travelers. Other exhibition highlights include Heaven (1967) by Benny Andrews\, a psychedelic scene of an otherworldly paradise that anticipates the fantastical landscape of his monumental 1975 collage painting Utopia\, the sixth and final work in his landmark Bicentennial Series. Reginald Marsh’s depiction of Coney Island’s clamorous midsummer crowds presents a roiling\, baroque scene of urban leisure\, which is offset by more intimately-scaled seaside works by Milton Avery\, James Daugherty\, Dorothy Dehner\, Louis Elshemius\, Robert Gwathmey\, and Fairfield Porter. \nMasters of abstraction Sam Gilliam\, Jack Tworkov\, Michael Goldberg\, Mark Tobey\, and William T. Williams provide vision-encompassing canvasses of high-keyed color and exacting materiality\, while a “bush” bronze by Harry Bertoia (1915–1978) and a verdant\, hedge-sized Norman Bluhm (1921–1999) painting provide overtones of flourishing botanical life. Bask in the sunshine of solar-themed works by American Surrealists Boris Margo and David Hare (1917–1992)\, or contemplate the mathematically precise concretism of a major diptych by Alfred Jensen (1903–1981)\, Twin Children of The Sun #14 (1974). Emphasizing the profusion of life brought about by its titular season\, the exhibition is bookended with floral-themed works by Blanche Lazzell\, Charles Ethan Porter\, William Zorach\, and—in her singularly inventive way—Yayoi Kusama. \nFive artists included in Summer At Its Best are the subject of major institutional exhibitions open across the country this summer. Bob Thompson: This House Is Mine is on view at the High Museum of Art in Atlanta\, Georgia through September 11\, 2022\, and has received resounding critical acclaim at each of its previous venues. Originally curated by Diana Tuite for the Colby College Museum of Art in Waterville\, Maine\, the exhibition is accompanied by a comprehensive catalogue published in association with Yale University Press. \nOn view at The Glass House in New Canaan\, Connecticut through November 21\, 2022\, is a stunning group of paintings by Charles Ethan Porter as a primary component of the exhibition David Hartt: A Colored Garden. In conjunction to this exhibition\, Hartt has designed and planted a circular garden on the property’s south lawn\, populated by sequentially blooming flowers that correspond to the varieties represented in the nine Porter works hanging in the House’s Painting Gallery. \nMichael Rosenfeld Gallery’s successful exhibition Be Your Wonderful Self: The Portraits of Beauford Delaney\, which opened at the gallery in September 2021\, has traveled to the Ogden Museum of Southern art in New Orleans\, Louisiana\, where it will be on view through July 17\, 2022. An accompanying catalogue of the exhibition with a comprehensive chronology and new scholarship by Delaney scholar Mary Campbell is now available. \nCelebrating Sam Gilliam’s sixty-year career based in Washington\, DC\, the Hirshhorn Museum and Sculpture Garden recently opened Sam Gilliam: Full Circle\, an exhibition of the eighty-eight-year-old artist’s most recent body of paintings; open through September 11\, 2022\, the new works are contextualized among select historical works demonstrating his recursive yet unfailingly innovative practice. \nFinally\, Art and Race Matters: The Career of Robert Colescott opens at the New Museum in New York\, New York Thursday\, June 30\, closing October 9\, 2022. Curated by Lowery Stokes Sims and Matthew Weseley for the Contemporary Arts Center in Cincinnati\, Ohio\, Art and Race Matters comprises over fifty Colescott paintings and works on paper representative of the breadth of the artist’s career\, in which “he combined appropriation with transgressive attitudes in a way that nobody else has done\,” Sims asserts. \nAfter a year of intensive looks at some of our most pioneering artists\, we are pleased to offer this respite dedicated to the joys and pastimes of the season. Summer At Its Best includes work by Benny Andrews (1930–2006)\, Milton Avery (1885–1965)\, Mary Bauermeister (b.1934)\, Harry Bertoia (1915–1978)\, Norman Bluhm (1921–1999)\, Robert Colescott (1925–2009)\, Joseph Cornell (1903–1972)\, James Daugherty (1887–1974)\, Elaine de Kooning (1918–1989)\, Willem de Kooning (1904–1997)\, Dorothy Dehner (1901–1994)\, Beauford Delaney (1901–1979)\, Thornton Dial (1928–2016)\, Louis Eilshemius (1864–1941)\, Claire Falkenstein (1908–1997)\, Jared French (1905–1987)\, Sam Gilliam (1933–2022)\, Michael Goldberg (1924–2007)\, Morris Graves (1910–2001)\, Robert Gwathmey (1903–1988)\, David Hare (1917–1992)\, Alfred Jensen (1903–1981)\, Lee Krasner (1908–1984)\, Yayoi Kusama (b.1929)\, Blanche Lazzell (1878–1956)\, Norman Lewis (1909–1979)\, Boris Margo (1902–1995)\, Reginald Marsh (1898–1954)\, Agnes Pelton (1881–1961)\, Charles Ethan Porter (1847–1974)\, Fairfield Porter (1907–1975)\, Esphyr Slobodkina (1908–2002)\, Toshiko Takaezu (1922–2011)\, Alma Thomas (1891–1978)\, Bob Thompson (1937–1966)\, Mark Tobey (1890–1976)\, Jack Tworkov (1900–1982)\, William T. Williams (b.1942)\, and William Zorach (1887–1966). \nMichael Rosenfeld Gallery is located at 100 Eleventh Avenue (at 19th Street)\, New York\, NY\, 10011. Gallery hours are Tuesday–Saturday\, 10AM–6PM and Monday–Friday\, 10AM–6PM during July and August. For additional information or images\, please contact Nicole Martin\, Communications Associate at 212 247 0082 or nm@michaelrosenfeld.com.
URL:https://artinamericaguide.com/event/summer-at-its-best/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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SUMMARY:Nancy Grossman: My Body
DESCRIPTION:Reception for the Artist: Thursday\, April 28\, 2022 / 6-8PM* \nGrossman’s pieces come much closer to armor and prosthetic than to restraint and fetish…Nature gives us one face and we make ourselves another. Her horns\, harnesses\, zippers\, straps\, reins\, and skins mark us as beasts but not animals…Strapped in\, strapped on\, we confront the massive brutality of the world’s misrecognitions.[1]—Nayland Blake \nMichael Rosenfeld Gallery is pleased to present its fifth solo exhibition featuring the work of Nancy Grossman (b.1940)\, which focuses on the artist’s oeuvre-spanning engagement with the figure in sculpture\, collage\, printmaking\, painting\, and drawing. Encompassing over five decades of her career\, Nancy Grossman: My Body surveys the major developments in the artist’s treatment of the human form\, which she conceives of as an arena in which the intricately related themes of agency\, otherness\, vulnerability\, and identity play out in both collective and individual terms. \n“The body of work which I’ve produced in the last thirty years may simply revolve around my own body\,” Grossman wrote in 1991. “But then I may be\, for all intents and purposes\, a Heavenly body or the Wizard of Oz.”[2] Invoking the cosmic perspective in which her practice is grounded\, Grossman describes a guiding principle of her early and middle career in this poetic statement\, which conveys the immutable status the human form holds in her work. Using the body as a touchstone\, Nancy Grossman: My Body showcases an interdisciplinary selection of works representative of the artist’s figural practice. \nDemonstrating the longevity of the artist’s interest in the figure\, Grossman’s early oil and pastel works render the body as entangled masses of expressionistic brushstrokes radiating outward in a perpetual state of disintegration\, merging figure and ground in varying degrees of legibility. The artist created her earliest drawings of bound figures struggling against their tethers in these years as well\, anticipating the theme of bodily compromise that would undergird much of her output in the following decades. As art historian Arlene Raven observes: “[Mary Shelley’s Frankenstein (1818)] is a tale of awakening female sexuality with feminist and humanist underpinnings…As well\, it is an early—although hidden—narrative about the ‘female as other.’ The novel on which so many macabre films are based is also one of the most poignant descriptions of (self) creating monstrosity. Monstrosity has been a designated trait of nondominant peoples throughout history and a culturally-enforced psychological self-image for unruly women.”[3] \nShelley’s monster is indeed a useful allegory for looking at Grossman’s work\, not only in terms of the social constructs she often addresses\, but also when considering her formal approach; collage has been a vital aspect of the artist’s practice since 1962. Accordingly\, My Body exhibits examples of Grossman’s series of dyed paper collages from the 1970s\, which depict men of herculean proportions in various positions of restraint. Grossman discovered that soaking paper cut-outs in water and dye\, letting them dry\, and repeating the process imbued the material with a weathered texture that resembles skin\, especially when organized in a schema reminiscent of human musculature. Held in place by suture-like lines of masking tape and streaked with stains resembling bruises and veins\, these collages render their subjects as powerfully brawny yet helpless amalgamations of flesh. \nWhile much of Grossman’s work deals with the strictures and inadequacies of gender constructs\, the artist comes at the subject obliquely\, using her own unique set of symbols and metaphors: “Whenever I wanted to say something specific\, personal…I would use a woman’s image\,” she explains. “But if I wanted to say something in general\, I would use a man. It’s as if man was our society. Yet I don’t feel I have to conform to a political identification although\, naturally\, I’m a feminist. But if we have to split hairs\, I’m a humanist.”[4] This approach allows for a layered reading of Grossman’s figural works\, permitting her subjects to be read variously as stand-ins for the viewer\, the artist herself\, or society as a whole. The figures in her work are often manifestations of an interior identity\, emotional state\, or collective ethos the artist seeks to express in bodily terms. In the case of her celebrated series of leather-covered heads begun in the late 1960s\, the artist considers these sculptures to be self-portraits\, as she conceived of them at a time in her life when she felt isolated and vulnerable. Constructed from a wooden base over which she often applies epoxy\, invented eyes\, teeth\, horns\, and other accoutrements\, these sculptures invoke the barriers the individual creates to protect themselves from society’s conflicts\, which\, in turn\, limits their capacity for self-expression. \nFollowing the successful reception of her head sculptures\, Grossman began a body of work centered on similarly leather-clad heads with guns strapped onto their faces\, establishing a potent new format for expressing the violence humans inflict on one another\, not only with literal weapons but with words or their gaze. Initially conceived in 1973\, Grossman thought the motif an apt allegory for a 1976 lithograph commissioned in commemoration of America’s Bicentennial\, and she continued to create variations on the theme throughout the 1980s and 1990s. Nancy Grossman: My Body includes several examples of the artist’s “gunhead” works. Rounding out the exhibition\, a concise selection of Grossman’s dramatic multi-figure works from the 1980s situate subjects of both sexes in dreamlike settings. The figures in these works are neither masked nor restrained—quite the opposite\, in fact; taking theatrical postures of frustration\, aggression\, or repose\, the subjects of these tableaux convey either intense emotion or utter detachment\, establishing a complex relational dynamic between them. Masterfully capturing herself in form and feeling\, the portrait is a compelling testament to Grossman’s artistic philosophy. “In a way I [use] the figure to express some metaphor: That you are still confronted with the figure itself and the feeling in the pit of your stomach. A kind of kinetic recognition. Empathy\, if you will…And the feeling has to do with a sense of being human. My own sense\, naturally\, and the sense that I have of being a human being among other humans in the world.”[5] \nMichael Rosenfeld Gallery LLC is the exclusive representative of Nancy Grossman. \nMichael Rosenfeld Gallery will also present a solo exhibition of Nancy Grossman’s figural works at Frieze New York (May 18–22\, 2022\, Booth D10). \nThe gallery will host a Meet & Greet with the Artist Friday\, May 20 from 5–7PM. \n*Gallery attendance will be limited to 125 people at any one time. Masks are required and we appreciate your patience for entry. \n[1] Nayland Blake\, “Misrecognized” in Ian Berry\, ed.\, Nancy Grossman: Tough Life Diary\, exhibition catalogue (Saratoga Springs\, NY: The Frances Young Tang Museum and Art Gallery at Skidmore College; Munich: DelMonico Books\, 2012)\, 107. \n[2] Nancy Grossman\, artist statement\, June 28\, 1991\, published in Nancy Grossman: Loud Whispers\, Four Decades of Assemblage\, Collage and Sculpture\, exhibition catalogue (New York: Michael Rosenfeld Gallery\, 2001) 43. \n[3] Arlene Raven\, Nancy Grossman\, 106-08. \n[4] Grossman in an interview with Cindy Nesmer in Art Talk: Conversations with Twelve Women Artists (New York: Charles Scribner’s Sons: 1975) reprinted in Nancy Grossman: Tough Life Diary\, 221.\n[5] Grossman in an interview with Dee Ito\, The School of Visual Arts Guide to Careers (New York: McGraw-Hill\, 1987)\, n.p.
URL:https://artinamericaguide.com/event/nancy-grossman-my-body/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220217
DTEND;VALUE=DATE:20220221
DTSTAMP:20260407T031502
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SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles\, Booth D20
DESCRIPTION:For its inaugural participation at Frieze Los Angeles\, Michael Rosenfeld Gallery (Booth D20) is pleased to present an exhibition of historical works by eight artists essential to the canon of 20th-century figurative art: Benny Andrews (1930–2006)\, Richmond Barthé (1901–1989)\, Elizabeth Catlett (1915–2012)\, Robert Colescott (1925–2009)\, Beauford Delaney (1901–1979)\, Augusta Savage (1892–1962)\, Bob Thompson (1937–1966) and Charles White (1918–1979). The exhibition is curated to complement the Black American Portraits exhibition currently on view at the Los Angeles County Museum of Art (LACMA) and builds upon the successes of the 2019 shows Charles White: A Retrospective at LACMA and Soul of a Nation: Art in the Age of Black Power\, 1963–1983 at The Broad. Spanning nearly three-quarters of a century\, works on view provide deeper insight into the history of American art laid out by Los Angeles’ premiere institutions. At a time when the art world finds itself in the midst of a figurative renaissance among contemporary Black artists\, Michael Rosenfeld Gallery is proud to assemble an exhibition celebrating the exceptional vision of the artists who were essential precedents to the current era. \nThree of the artists in the presentation have direct ties to California. Charles White resided in Los Angeles from 1956 until his death in 1979\, creating several of his most renowned works in his Altadena studio while teaching at the Otis Art Institute (now Otis College of Art and Design). Notably\, White mentored David Hammons and Kerry James Marshall when they were students at Otis. In his socially conscious art\, White sought to portray African Americans in a manner that foregrounded his subjects’ dignity and humanity. A standout work in our Frieze exhibition is White’s Leadbelly (1975)\, a monumental portrait of the legendary folk and blues musician Huddie William “Leadbelly” Ledbetter. The work is the result of a commission White received to illustrate the album cover for the soundtrack to Gordon Parks’ feature film Leadbelly (Paramount Studios\, 1976). Oakland native Robert Colescott addresses the contradictions inherent to Black American life through his satirical compositions\, which simultaneously skewer and lay claim to the national collective memory from which people of color are often excluded. In such paintings as The French in Louisiana (1988)\, Colescott lampoons the social conventions surrounding identity and desire\, revealing the larger power structures that establish and enforce them. Harlem Renaissance sculptor Richmond Barthé spent the majority of his career in New York and Jamaica but relocated to the mild climes of Pasadena in 1977. There he met actor James Garner\, who became a dear friend and important benefactor. It was around this time that another highlight of our presentation\, a 1970s cast of Barthé’s celebrated sculpture The Negro Looks Ahead was created (the original clay sculpture dates to 1942). Celebrating the beauty\, strength\, and fortitude of Black men\, the work testifies to Barthé’s masterful technical ability as well as his exceptional capacity for imbuing his subjects with a sense of grace and vitality. \nAnother eminent Harlem Renaissance sculptor\, Augusta Savage\, will also be featured in Booth D20. Gamin (c.1930) is one of Savage’s best-known works and is emblematic of the artist’s superior talent for capturing her sitters’ distinguishing features while conveying a clear impression of their interior life. Here the artist frames her subject—her nephew\, Ellis Ford—in a format traditionally reserved for royalty or persons of influence; yet\, where classical busts portray their subjects in a detached\, idealized manner\, Savage includes the boy’s informal dress and engaging expression\, accentuating his individuality and vulnerability. Rounding out the presentation’s sculpture selection is Pensive (1946\, cast 1967) by Elizabeth Catlett.  Known for her commitment to social justice in both her art and her life\, Catlett built her career on the faithful representation of working-class Black women’s struggles and joys. Pensive is one of her earliest works and features all the hallmarks of her mature style\, including a finely detailed texture\, simplified features\, and a balanced juxtaposition of curves and angles—all of which coalesce into a highly emotive portrayal of a contemplative\, melancholic woman. \nAdditional highlights in the exhibition’s painting selection include Bob Thompson’s Untitled (Oh Lawd!) (1962)\, a compelling work demonstrative of the artist’s unique compositional approach\, wherein select elements of historic European masterpieces are reimagined in his own expressionistic\, fauvist-inflected style. Here Thompson borrows from one of Francisco Goya’s Los Caprichos etchings (1797–1799)\, rendering Goya’s composition in simplified forms and a high-keyed palette while inserting his own personal symbolism. Thompson was deeply inspired by jazz\, and art historians have often compared his revision of Old Master paintings to jazz’s emphasis on riffing and reiteration. A similarly imposing work\, Malice (1978) by Benny Andrews—one of Thompson’s peers on the Lower Manhattan scene—is also included in the exhibition. Emotionally detached and impenetrably cryptic\, Andrews’ anonymous sitter exemplifies the artist’s career-long engagement with archetypal figures and embodied themes. His highly symbolic compositions are executed with paint\, fabric and various found materials\, and often convey an intense psychological state. In contrast to the foreboding tone of Thompson and Andrews’ works\, Beauford Delaney’s Untitled (Portrait of a Young Man) (c.1963) constitutes a reverent celebration of the human spirit. Notable for its profusion of yellow\, the work demonstrates Delaney’s unparalleled mastery of color\, capturing the essence of its sitter through the artist’s distinctive blend of abstraction and figuration. For Delaney\, the color yellow held connotations of sanctity\, and he applied it generously to subjects he wanted to portray as sources of a radiant\, spiritual light. \nOrganized to provide art historical context to LACMA’s presentation of The Obama Portraits by Kehinde Wiley and Amy Sherald (currently on view at the High Museum of Art in Atlanta)\, Black American Portraits features over 140 works drawn primarily from the museum’s collection. The museum’s works are augmented by several loans from Michael Rosenfeld Gallery\, which has provided paintings by Charles Alston\, Benny Andrews\, John Biggers\, Beauford Delaney\, Eldzier Cortor and Archibald Motley to expand the parameters of this important chronicle of Black American portraiture. The exhibition comes nearly half a century after David Driskell’s groundbreaking 1976 exhibition at LACMA\, Two Centuries of Black American Art 1750–1950. Coinciding with the nation’s bicentennial\, the show provided a revelatory understanding of Black artists’ contributions to American culture. In 2008\, Michael Rosenfeld Gallery staged African American Art: 200 Years\, a historical survey in the legacy of Driskell’s exhibition; accompanied by a catalogue publishing new scholarship by Lowery Stokes Sims\, the show featured 38 artists ranging from 19th-century masters Henry Ossawa Tanner and Charles Ethan Porter to midcentury figures such as Hughie Lee-Smith and Alma Thomas\, as well as current stars of the contemporary scene Betye Saar and Sam Gilliam. \nFounded in 1989\, Michael Rosenfeld Gallery has consistently championed the careers of the eight artists in our Frieze Los Angeles presentation. Recent gallery group and solo exhibitions have included RISING UP/UPRISING: Twentieth Century African American Art (March–May 2014); Figuratively Speaking (November 2017–January 2018); Truth & Beauty: Charles White and His Circle (September–November 2018); Benny Andrews: A Real Person Before the Eyes (September 2020–January 2021); and Be Your Wonderful Self: The Portraits of Beauford Delaney (September–December 2021). Presently\, the gallery represents the estates of Benny Andrews\, Beauford Delaney and Bob Thompson. \nVisit Michael Rosenfeld Gallery in Booth D20
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-frieze-los-angeles-booth-d20/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
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DTEND;VALUE=DATE:20220124
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SUMMARY:Romare Bearden: Collage/In Context at FOG Design+Art
DESCRIPTION:For its inaugural presentation at FOG Design+Art\, Michael Rosenfeld Gallery is pleased to announce Romare Bearden: Collage/In Context\, a dual presentation of exhibitions exploring the evolution of collage practices throughout the 20th and 21st centuries. A solo exhibition of collage works by Romare Bearden (1911–1988)\, will feature nineteen masterworks created throughout the 1960s and 1970s\, when the artist’s creative prowess was at its height. Seeking to convey the unparalleled status of Bearden’s contributions to the medium\, the booth will also feature a group exhibition curated to contextualize Bearden’s work among other major American artists working in collage from 1937 to 2019\, providing unique insight into the precedents\, impact\, and legacy of Bearden’s work. \nRomare Bearden began his career as a political cartoonist in the 1930s\, an endeavor that anticipated his later work with ephemeral\, mass-produced printed matter. He even used a collage technique in several of his cartoons from this period\, pasting clippings from newspaper articles into his panels to set up his strip’s message\, which often focused on the political struggles of the African diaspora in the US and abroad. The clean\, expressive linework seen in his cartoons carried over into his painting career of the 1940s and 1950s\, when he authored a vibrant body of modernist works whose imagery gradually vacillated between process-based abstraction and cubist-inflected figuration. Although the timeline of the artist’s earliest mature experiments in collage is uncertain—dates range from 1956 to 1961—Bearden did not earnestly begin his collage practice until the months spanning 1963 to 1964\, at the age of fifty-one. The US political climate had reached a fever pitch in advance of the March on Washington for Jobs and Freedom in August of 1963\, and the artist\, who had grown up in the south and was eminently aware of the nation’s civic failings\, found his practice reinvigorated by possibilities he discovered in figurative collage. Working in a mode that incorporated approaches from the cubist and dada collages with which he was familiar\, Bearden began producing collage works at an intrepid pace. \nRomare Bearden: Collage will present a survey of Bearden’s masterful\, intricate compositions focused on themes as expansive as his own talent and wide-ranging interests\, which included Greek mythology\, jazz\, blues\, European Old Masters\, and Black American life in both urban and rural settings. Highlights of the presentation will include La Primavera (1964)\, one of the artist’s first major collages that converges cultural signifiers from southern Black American life with allegories of the European Renaissance; Spring Way (c.1968)\, a work the artist revisited over a period of several years that was inspired by his family history and the Great Migration; and Blue Shade (1973)\, a collage that incorporates an especially diverse array of media and improvisational composition techniques. Ultimately\, Bearden was enamored of the medium’s potential to lay bare the foundational structures of pictorial representation\, in both social and formal terms. As Thelma Golden writes\, Bearden was drawn to collage’s capacity to get at an “essential notion of representation [by] opening up the authentic and the experiential through formal means.”[I] \nWhile Bearden’s collages drew widespread acclaim and recognition for their originality and influence\, the medium as a whole experienced a renaissance in the middle decades of the twentieth century\, as all manner of painters\, printmakers\, filmmakers\, and sculptors likewise found the medium replete with generative possibility. In fact\, the increasing prevalence of collage techniques in 20th-century art was the subject of a landmark exhibition at the Museum of Modern Art in 1961 called The Art of Assemblage\, which Bearden visited. Exhibiting 250 works by 130 artists\, the show traced the evolution of the medium from the cubist experiments of Pablo Picasso and Juan Gris through the movements of dada\, surrealism\, nouveau réalisme\, abstract expressionism\, and neo-dada. Curated by William Seitz\, the exhibition’s sprawling parameters sought to demonstrate the immense impact of collage and assemblage practices on the primary movements of 20th-century Western art. \nCollage/In Context takes an approach similar to The Art of Assemblage\, bringing together a diverse range of artists working in collage across multiple decades\, but with revised parameters to focus on artists working in proximity to Bearden. Many of the artists included here were also represented in the 1961 MoMA exhibition\, including Bruce Conner (1933–2008)\, Conrad Marca-Relli (1913–2000)\, Louise Nevelson (1899–1988)\, Richard Pousette-Dart (1916–1992)\, Anne Ryan (1889–1954)\, Joseph Stella (1877–1946)\, Esteban Vicente (1903–2001) and Charmion von Wiegand (1896–1983). Expounding on the indelible impact of Bearden’s work are collages by such artists as Nancy Grossman (b.1940)\, who worked closely with Bearden to develop a new technique to preserve the integrity of their supports under the weight of several layers of paper and glue. A strong selection of collages by Betye Saar (b.1926) dating from the 1970s through the early 1990s juxtapose objects of particular familial or autobiographical significance with an array of other elements\, often referencing sociopolitical ideas or mystical concepts. A small but potent group of works by Jay DeFeo (1929–1989) demonstrate the artist’s iterative process of formal experimentation\, wherein ordinary inanimate objects are anthropomorphized to suggest unexpected connections between subjects. Rounding out the presentation are works by artists that could have easily fit into the 1961 MoMA exhibition but were a bit less prominent—but no less important—at the time\, such as Hannelore Baron (1926–1987)\, Burgoyne Diller (1906–1965)\, Balcomb (1904–1990) and Gertrude Greene (1904–1956)\, Grace Hartigan (1922–2008)\, Alfred Leslie (b.1927)\, Larry Rivers (1923–2002) and Lenore Tawney (1907–2007). Finally\, a selection of works created in the decades following Bearden’s death\, including collages by Benny Andrews (1930–2006)\, Al Hansen (1927–1995) and William T. Williams (b.1942) emphasize the enduring influence of Bearden’s work. \nWhile the conceptual underpinnings of these artists’ collage works range from complex narrative\, to aesthetic experimentation\, to theoretical postulates\, all share a common impulse to transform fragmented materials into a new image bearing the significance of both its component parts and the reconstituted\, holistic composition. For many of these artists\, collage was a means to incorporate the substance of their lived reality into their art through a process that balanced degeneration and regeneration\, which was often a reflection of the social upheavals of their era. Bearden stands out as a leader in this arena\, as he recursively sought to translate American and African themes that survived or grew out of the ruptures of slavery and diaspora into a visual language created from the manufactured imagery of his moment. He was fascinated by the continuum he perceived in the rituals surrounding birth and death\, as well as the traditions that brought factions of society together to observe and reminisce. As Ruth Fine observes\, “One great legacy of Bearden’s art is its insight that what we share as a global community is equal in both interest and importance to what makes each of us unique…In the materiality of his expansive expression\, method and message become one.”[II] \n[I] Thelma Golden\, “Projecting Blackness\,” Romare Bearden in Black-and-White: Photomontage Projections (New York: Whitney Museum of American Art\, 1997) p. 40.\n[II] Ruth Fine\, “Bearden: The Spaces Between\,” in Fine et al.\, The Art of Romare Bearden. (Washington\, DC: National Gallery of Art\, 2003) p. 4.
URL:https://artinamericaguide.com/event/romare-bearden-collage-in-context-at-fog-designart/
LOCATION:FOG Design+Art\, Fort Mason Center\, 2 Marina Blvd\, San Francisco\, CA\, CA\, 94123\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20220118
DTEND;VALUE=DATE:20220327
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SUMMARY:Manhatta: City of Ambition
DESCRIPTION:I was asking for something specific and perfect for my city\,\nWhereupon lo! upsprang the aboriginal name[1] \nNow I see what there is in a name\, a word\, liquid\, sane\, unruly\,\nmusical\, self-sufficient… \n—Walt Whitman\, from “Mannahatta”[2] \nFollowing the success of our exhibition at Art Basel Miami Beach 2021\, Michael Rosenfeld Gallery is pleased to present Manhatta: City of Ambition\, a group show featuring a broad selection of artists central to the gallery program\, open now at our gallery in Chelsea. Inspired by Paul Strand and Charles Sheeler’s avant-garde film Manhatta (1920–21) the artists featured here offer scintillating visions of urban life\, exalting the struggles and triumphs of a densely-populated metropolis rebuilding itself in the wake of global catastrophe. In addition to the diverse selection of paintings\, works on paper\, and sculptures in the exhibition\, we are screening Manhatta on a continuous loop in a dedicated alcove of the gallery. Manhatta: City of Ambition will be on view through March 26\, 2022. \nTo view the complete exhibition checklist\, click here. \nBrought together in commemoration of the film’s centennial\, the works on view in Manhatta: City of Ambition celebrate urban centers as loci of inspiration. A freestanding metalwork sculpture by Harry Bertoia (1915–1978) dating to 1956 evokes the modernist architectures of skyscrapers while demonstrating the formal possibilities of sheet metal—a material favored by many sculptures in the postwar decades for its abundance and versatility. Transcendentalist Painting Group leader Raymond Jonson’s (1891–1992) tributes to the grand architectural achievements of early 20th century Chicago\, City Lights (1933) and City Ultimate (1936)\, are on view alongside Howard Cook’s (1901–1980) iconic rendition of the Brooklyn Bridge\, The Bridge No. 1 (c.1951)\, an ode to the feat of modern engineering that connects the New York’s two most densely populated boroughs. Three works by Norman Lewis (1909–1979) dating to each decade of his mature career provide succinct insight into the evolution of the artist’s style; a lifelong resident of Harlem\, Lewis variously portrays the frenetic bustle and tranquil glow of midcentury New York through his signature calligraphic line and sublimely atmospheric abstraction. William T. Williams (b.1942) likewise pays homage to the historic neighborhood in his process-based abstract painting Time of Song (1993)\, an exemplary work from his 111 ½ Series\, named for the Harlem address where his family regularly gathered for many years. Charles Alston’s (1907–1977) landmark 1948 painting Harlem at Night combines the multi-perspectival structures of Cubist abstraction with the improvisational rhythms of jazz\, resulting in a vibrant\, serene nocturne punctuated by a constellation of glowing windows and streetlamps. \nThe modernist marvel of the electrified cityscape was an enduring theme throughout the art of the 20th century\, and this trope is represented by three works with live electrical components: Red Grooms’ (b. 1937) monumental\, elaborately painted sculptures Flatiron Building and Rockefeller Center\, both dating to 1995\, as well as Irene Rice Pereira’s (1907–1971) Glass Construction (c.1942)\, an amalgam of colored glass panes illuminated by a lightbox. In Savoy Dancers (1931)\, Reginald Marsh’s (1898–1954) sinewy figures animatedly dance in Harlem’s famous dance hall—one of the few racially integrated social clubs in the city at the time—as the crowded scene around them recalls the drama and bacchanalia of the Baroque frescoes the artist cited as primary sources of inspiration. George Tooker’s (1920–2011) ecstatic vision of urban fantasy set in Washington Square Park\, Fountain (1949–50)\, is a masterful multi-figure composition from the artist’s early career\, including an intensely psychological set of symbols and a radiant palette executed in his signature egg tempera medium. Beauford Delaney (1901–1979) likewise portrays an idyllic scene of Lower Manhattan in an exemplary work from his Greene Street period in Untitled (Greene Street)\, 1950\, where the block on which he lived and worked for 24 years is expressionistically rendered in the artist’s signature\, fauvist-inflected palette. \nBenny Andrews’ (1930–2006) large relief painting\, 6 Floor Walkup (1974)\, palpably conveys the emotional and psychological ethos of residential life on the Lower East Side—then a working-class neighborhood—where\, per city regulations\, six stories was the tallest a building could be without installing an elevator. An early painting by Claire Falkenstein (1908–1997)\, Counterpoint (1941)\, exemplifies the artist’s early experiments in organic abstraction\, in contrast to Charmion von Wiegand’s (1896–1983) Gouache #162 Prismatic Lattice: Tragic Square (1962)\, which arrays a set of variously colored squares according to a complex numbering system the artist developed using various ancient divination texts of the Far East. The neoplastic grid of the Prismatic Lattice works reflects the influence of von Wiegand’s friend and mentor\, the De Stijl pioneer Piet Mondrian\, whose enduring impact is likewise observable in Romare Bearden’s (1911–1988) highly geometric\, primary hued rendition of a Pittsburgh street scene\, Spring Way (c.1968). \nIn Edmund Lewandowski’s (1914–1998) Industry (1942)\, workers toil in a factory scene set in the artist’s native city of Milwaukee; Lewandowski sought to elevate the sleek\, complex forms of modern industrial machinery as well as the workers who operated them\, who he considered to be exemplars of American progress. Ralston Crawford (1906–1978) addresses similar themes related to economy and labor in his clean-lined composition Unloading the Cargo; dating to the same year as Industry\, Crawford’s painting emphasizes simplified geometric forms to the point of near-abstraction\, successfully describing a scene of dockside industry in midcentury New Orleans. A group of intimately-scaled collages by Joseph Stella (1877–1946) dating to the interwar years take up similar themes of human-machine labor and its humanistic implications; referred to as his “Macchina naturale” works\, the collages comprise found scraps of printed matter arranged to evoke the modernist dichotomy between man and machine\, industry and nature. While Stella’s Macchina naturale works are connected to his activities in New York’s Dadaist circles\, the artist also belonged to a movement known as the Precisionist School of painters\, whose members favored highly controlled\, sleekly finished compositions depicting regional American subjects; other artists who were active in the Precisionist scene included Crawford\, Lewandowski\, and\, most prominently\, Manhatta co-auteur Charles Sheeler. \nStrand and Sheeler’s Manhatta is considered by most film historians to be the first avant-garde film produced in America. Unlike its Dadaist counterparts in Europe\, which are steeped in the political despair of the continent’s interwar years\, Manhatta constitutes a “Whitmanian [celebration] of the common\,” writes experimental film historian Juan A. Suárez\, which “conceived the modern material world as a hieroglyph of spiritual principles—‘art\,’ democracy\, ‘Americanness.’”[3] Guided by intertitles bearing excerpts of Walt Whitman poems\, the 11-minute film comprises a series of non-narrative\, documentary vignettes structured to suggest the progression of a single day\, opening and closing with shots of New York Harbor at dawn and sunset\, respectively. Strand and Sheeler shot the film at various locations across five square blocks of Lower Manhattan\, capturing the spectacle of the island’s waterways\, architectures\, and inhabitants over several months of 1920–21. Using rhythmic montage and extreme camera angles to convey the surging pulse of the city’s throng and the vertiginous perspectives of its skyscrapers\, the filmmakers effectively convey the themes of Whitman’s verse while incorporating influences from contemporaneous avant-garde painting movements\, including Cubism and the Ashcan School. Both Strand and Sheeler were protégés of Alfred Stieglitz\, and many of Manhatta’s sixty-five static shots resemble the sharp focus and richly varied tonal scale of a platinum print. Created in an era when the movie camera was still an expensive novelty—the 35mm French Debrie on which it was shot cost Strand $1600—Manhatta ultimately constitutes a moving portrait of the island. \nPremiering at the Rialto Theater off Times Square on July 24\, 1921\, Manhatta was highly influential to an entire generation of filmmakers in the United States and Europe\, spawning a new genre of experimental film known as the “City Symphony.” This category now includes some most important works of interwar cinema\, such as Walter Ruttmann’s Berlin: Symphony of a Great City (1927)\, Alberto Cavalcanti’s Nothing But Time (1929)\, Dziga Vertov’s Man with a Movie Camera (1929)\, and Jean Vigo’s On the Topic of Nice (1930). Manhatta was digitally restored in 2008\, as most extant copies were jittery\, scratched celluloid prints that had been overexposed due to years of screenings and poor storage practices. Thanks to the efforts of multiple institutions specializing in film preservation\, all 11\,223 frames of the digital copy on view at the gallery have been corrected to replicate the crystal-clear\, steadily shot film audiences saw in the 1920s. Enhanced by Whitman’s rhapsodic words\, Manhatta’s silvery impressions of the city’s achievements in architectural innovation\, industrial expansion\, and urban community perfectly reflect the thematic concerns of the other artworks on view. \nArtists on view in Manhatta: City of Ambition includeCharles Alston (1907-1977)\, Benny Andrews (1930-2006)\, Romare Bearden (1911-1988)\, Virginia Berresford (1904-1995)\, Harry Bertoia (1915-1978)\, Howard Cook (1901-1980)\, Ralston Crawford (1906-1978)\, Beauford Delaney (1901-1979)\, Joseph Delaney (1904-1991)\, Burgoyne Diller (1906-1965)\, Aaron Douglas (1899-1979)\, Claire Falkenstein (1908-1997)\, Fritz Glarner (1899-1972)\, Sidney Gordin (1918-1996)\, Red Grooms (b.1937)\, George Grosz (1893-1959)\, Hananiah Harari (1912-2000)\, Raymond Jonson (1891-1982)\, Jacob Lawrence (1917-2000)\, Edmund Lewandowski (1914-1998)\, Norman Lewis (1909-1979)\, Reginald Marsh (1898-1954)\, Irene Rice Pereira (1907-1971)\, Joseph Stella (1877-1946)\, Mark Tobey (1890-1976)\, Abraham Joel Tobias (1913-1996)\, George Tooker (1920-2011)\, Charmion von Wiegand (1896-1983)\, Abraham Walkowitz (1880-1965)\, Charles White (1918-1979) and William T. Williams (b.1942). \nTo learn more about the film Manhatta\, click here.\nTo learn more about the Manhatta restoration project\, click here. \n[1] Prior to colonization\, a loose association of Munsee-speaking peoples known as the Lenape populated much of the northeast coast of the present-day United States\, including lower New York state. The Munsee name for the 16-mile-long island formerly home to an essential grove of hickory trees is “manaháhtaan.” Though it was renamed twice in the 17th century\, first by the Dutch and then the English\, the Lenape’s name for the island\, slightly modified to “Manhattan\,” endured the colonialist razing\, even after the people to whom it belongs were driven from it. \n[2] Walt Whitman\, “Mannahatta\,” in Leaves of Grass (Boston: James R. Osgood and Company\, 1881–1882) p. 360. \n[3] Juan Antonio Suárez\, “City Space\, Technology\, Popular Culture: The Modernism of Paul Strand and Charles Sheeler’s Manhatta\,” Journal of American Studies\, Vol. 36\, Iss. 01 (April 2002) 96.
URL:https://artinamericaguide.com/event/manhatta-city-of-ambition/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20211202
DTEND;VALUE=DATE:20211205
DTSTAMP:20260407T031502
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SUMMARY:'Manhatta: City of Ambition' at Art Basel Miami Beach\, Booth G3
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present a group exhibition inspired by Paul Strand and Charles Sheeler’s avant-garde documentary film Manhatta (1920–21) at Art Basel Miami Beach 2021. Brought together in celebration of the centennial of Manhatta’s premiere\, the works on view explore themes of urbanity\, industry and immigration\, conjuring visions of urban life that capture the scintillating energy and soaring aspirations of a densely populated metropolis. Featuring a broad selection of artists central to the gallery program\, Manhatta: City of Ambition celebrates urban centers as loci of inspiration\, highlighting artworks that exalt the struggles and triumphs of life in a major city rebuilding itself in the wake of global catastrophe. \nA diverse group of works by artists associated with the 20th century New York avant-garde anchors the presentation in the city to which Manhatta is dedicated. Commuters (1954) by Norman Lewis (1909–1979)\, portrays the frenetic bustle of midcentury New York through the artist’s signature calligraphic line and sublimely atmospheric abstraction. George Tooker’s (1920–2011) otherworldly vision of Washington Square Park\, Fountain (1949–50)\, is an early example of the artist’s masterful figurative practice containing all the hallmarks of his mature career\, including an intensely psychological set of symbols and a radiant palette executed in his signature egg tempera medium. Beauford Delaney (1901–1979) likewise portrays the popular gathering place of the Greenwich Village creative community in his 1949 painting Washington Square\, an exemplary work from his Greene Street period in which his fauvist-inflected palette and expressionistic facture affectively describe the site as an idyllic oasis within the concrete expanse of Lower Manhattan. Howard Cook’s (1901–1980) iconic rendition of the Brooklyn Bridge\, The Bridge No. 1 (c.1951)\, constitutes an ode to the feat of modern engineering that connects the city’s two most populous boroughs. Embodying the electrified visual environment of the modern cityscape are Red Grooms’ (b.1937) monumental tribute to turn-of-the-century architectures\, Flatiron Building (1995)\, which incorporates a live electrical component\, and Irene Rice Pereira’s (1907–1971) Glass Construction (c.1944)\, a textured glass lightbox composition that echoes the nested\, luminescent grid of an urban environment after sunset. \nWhile many of the artists included in Manhatta: City of Ambition were luminaries of the New York scene\, the purview of the exhibition encompasses urban centers across the United States. Two major paintings from the interwar years effectively convey the grand architectural achievements of Chicago’s swiftly rising skyline in City Lights (1933) and City Ultimate (1936) by Raymond Jonson (1891–1992). In Edmund Lewandowski’s (1914–1998) Industry (1942)\, workers toil in a factory scene set in the artist’s native city of Milwaukee; Lewandowski (who ran in the same Precisionist painting circles as Sheeler) sought to elevate the sleek\, complex forms of modern industrial machinery as well as the workers who operated them\, who he considered to be exemplars of American progress. A particularly architectonic example of Claire Falkenstein’s (1908–1997) Fusion series will be on view; using an original technique she developed in Europe\, Untitled (Fusion) (c.1970) melds copper with jewel-toned glass similar to the artisanal Murano glassware that inspired the series’ conception\, transforming a centuries-old Venetian tradition into a thoroughly modernist American masterpiece constructed in Venice Beach\, California. A rare study by Harlem Renaissance master Aaron Douglas (1899–1979) evidences the artist’s refined graphic sensibilities\, applied at the height of his faculties in advance of his most ambitious mural commission\, the Cravath Hall cycle at Fisk University in Nashville. Another mural study\, Untitled (Mural Study\, Camp Wo-Chi-Ca) (1945)\, demonstrates Charles White’s (1918–1979) unparalleled draftsmanship; inspired by the artist’s experiences at a progressive summer camp in Hunterdon County\, New Jersey\, the composition advances a multicultural vision of society defined by access to education and protected workers’ rights. Finally\, a prime example of Harry Bertoia’s (1915–1978) high modernist metalwork sculpture reflects the midcentury architectures in which many of his public artworks were installed throughout the Midwest; constructed in the years after he left a wildly successful career as a designer to create sculpture full-time in his eastern Pennsylvania farmhouse\, Untitled (1956) constitutes an experiment in embodied variation limited to a stripped-down set of component parts and repetitive constituent motifs to create a structure simultaneously solid and transparent. \nVisitors will have the opportunity to view Manhatta in a dedicated alcove of the booth; the silent film contains verses from Walt Whitman poems in lieu of narrational exposition. Sheeler and Strand shot the film at various locations in Lower Manhattan throughout 1920; in fact\, fans of Strand’s photography will notice several locations that the artist also documented in some of his most famous photographs. Both Strand and Sheeler were protégés of Alfred Stieglitz\, and many of the film’s sixty-five shots resemble the sharp focus and richly varied tonal scale of a platinum print. Often using extreme camera angles evocative of a Cubist perspective\, the 11-minute film comprises a series of vignettes that echo the structure of Whitman’s verse. Manhatta is considered by most film historians to be the first avant-garde film produced in America\, amounting to a moving portrait of the island wherein visions of modern life are captured via a non-narrative\, documentary approach. The film was digitally restored in 2008\, as most extant versions were jittery\, scratched celluloid prints that had been overexposed due to years of screenings and poor storage practices. Thanks to the efforts of Anthology Film Archives\, The British Film Institute\, DTS Digital Images\, Lane Collection at the Museum of Fine Arts Boston\, The Library of Congress\, The Museum of Modern Art\, The National Gallery of Art and Eye Filmmuseum\, all 11\,223 frames on view at Michael Rosenfeld Gallery’s booth have been corrected to reflect the crystal-clear\, steadily shot film audiences saw in the 1920s. Enhanced by Whitman’s rhapsodic words\, Manhatta’s silvery impressions of the era’s achievements in architectural innovation\, urban infrastructure and industrial efficiency perfectly reflect the thematic concerns of the works on view. \nManhatta: City of Ambition is Michael Rosenfeld Gallery’s fifteenth presentation at Art Basel Miami Beach.
URL:https://artinamericaguide.com/event/manhatta-city-of-ambition-at-art-basel-miami-beach-booth-g3/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20211104
DTEND;VALUE=DATE:20211108
DTSTAMP:20260407T031502
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SUMMARY:‘Benny Andrews: For the Love of God’ at The Art Show 2021 (ADAA)
DESCRIPTION:“I tried to capture the enormous emotional release that was expressed in those services. This poor community of African-Americans\, oppressed through segregation and lacking many of the necessities needed for a decent life\, could find relief in only one place\, the church. …My hope is that this body of work transcends my particular experiences and speaks [to] a larger audience about the human condition…” —Benny Andrews \nMichael Rosenfeld Gallery is pleased to participate in the Art Dealers Association of America (ADAA) Art Show 2021 with the presentation Benny Andrews: For the Love of God\, a solo exhibition of collage paintings and ink drawings thematically united by the artist’s recursive engagement with subjects related to spirituality\, religion\, and community. Comprising works dating from 1966 to 2004\, the exhibition features a group of Andrews’ refined\, rarely seen ink drawings alongside a strong selection of his collage paintings on paper and canvas\, constituting a concise survey of the artist’s insightful reflections on religion’s complex role in American society. \nBenny Andrews (1930–2006) was born and raised in a rural farming community outside of Madison\, Georgia\, and exhibited a talent for artistic creation early in his childhood. As a young adult he served in the US Air Force\, which allowed him to attend the School of the Art Institute of Chicago (SAIC) on the GI Bill following an honorable discharge in 1954. Andrews developed his “rough collage” technique as a student at SAIC in the late 1950s; by adhering scraps of paper and found fabrics to his supports\, the artist sought to convey the “rawness” of his subjects and their material reality\, originating a novel painting process that captured the immediacy of everyday life. Shortly after graduating in 1958\, Andrews moved to Manhattan’s Lower East Side\, where he quickly became immersed in the neighborhood’s burgeoning avant-garde scene. Coming into artistic maturity in the decades when abstraction and minimalism were ascendent\, Andrews’ unwavering commitment to figuration was matched by his dedication to his subject matter\, namely the struggles\, joys and sorrows of historically marginalized people. This approach resulted in a prolific body of work that embodies a sprawling range of themes executed with Andrews’ singular blend of expressionistic formalism\, surrealist-inflected allegory\, and biting social commentary. Though he lived most of his adult life in New York\, Andrews always considered himself a product of the social and cultural environment of the South. Accordingly\, the religious community of his upbringing as well as religion’s sociopolitical status within the larger context of American culture comprise prevailing themes in his work. \nIn his acclaimed Revival series\, Andrews was inspired by memories of his childhood experiences as a member of Plainview Baptist Church. Seeking to convey the centrality of the church in Black American life in the rural South\, Andrews’ Revival works emphasize the social\, political and spiritual capacities through which the parish served the community. The artist’s portrayals of ministers and congregations at worship capture the fervor experienced by the devout through his figures’ exaggerated postures and ecstatic expressions\, effectively conveying the spiritual transcendence of his subjects over their material reality. While the Revival series constitutes Andrews’ most direct engagement with the subject\, meditations on the role of organized religion and spiritual enlightenment may be found in many of the series he completed\, including several works from his America Series. Executed between 1990 and 1991\, the series is grounded in Andrews’ conception of the US as a massive\, often unwieldy mosaic\, and portrays several archetypes for whom religion is a defining aspect of their identity or profession\, such as evangelists\, clergymen\, political opportunists\, and zealots. The integral function of the church in the Black community reemerged in two later series Andrews began in the final decade of his life. Works from his Langston Hughes series\, dedicated to the celebrated poet and social activist\, and his W.W. Law paintings—which likewise pay homage to an important civil rights leader\, Westley Wallace Law—emphasize the church as a primary site of organization for activists during the civil rights movement. Speaking to the broad spectrum of human emotion through the lens of religious community\, the works on view in For the Love of God testify to Andrews’ unique capacity to converge rich cultural tradition\, penetrating social commentary\, and spiritual awakening in a single image. \nA master of figuration dedicated to portraying the social realities he experienced throughout his life\, Andrews authored an expansive body of ink-on-paper drawings that form a visual and conceptual through-line within his oeuvre. The trajectory of Andrews’ line drawings traverses the length of his career\, with his unique figurative style and delicate technical process appearing fully formed in the early 1960s; extending to the last few works he completed before his death\, these drawings amount to a foundational group of compositions that both mirror and expound upon the concerns of his painting practice. Like many of his paintings\, Andrews’ line drawings dispense with dimensional modeling in favor of a strategically stripped-down draftsmanship\, suggesting volume in his figures through a careful balance of silhouette\, select identifying features\, and negative space. These works were executed through a process that was straightforward but required a great deal of skill: after sketching his composition in pencil\, Andrews used a crow-quill pen dipped in India ink to apply thin\, continuous lines atop the sketch before erasing any stray traces of graphite. The result is an incredibly clean\, minimalist drawing\, where the artist’s sensitive facture and expressive figuration shine through an adroit economy of form. The line drawings are as formally versatile as they were generative: some stand on their own as unique compositions; some exist as studies for larger painting projects; and others are designs Andrews used in his acclaimed body of lithographs\, etchings\, and Xerox prints. \nAndrews is represented in over fifty public collections including the Art Institute of Chicago (IL); Brooklyn Museum (NY); High Museum of Art (Atlanta\, GA); The Metropolitan Museum of Art (New York\, NY); Museum of Modern Art (New York\, NY); Philadelphia Museum of Art (PA); Smithsonian American Art Museum (Washington\, DC); The Studio Museum in Harlem (New York\, NY); and the Whitney Museum of American Art (New York\, NY). \nOn Sunday\, November 7\, from 12 to 3PM\, the Director of the Andrews-Humphrey Family Foundation\, Kyle Williams\, will be in our booth to speak about the artist’s life and work. \nMichael Rosenfeld Gallery LLC has represented the Benny Andrews Estate since 2009. \nMichael Rosenfeld Gallery has been a proud member of the Art Dealers Association of America (ADAA) since 2000. \n  \nThe Art Show 2021 (ADAA)\nThe Park Avenue Armory\nNovember 4–7\, 2021 \nBenefit Preview\nWednesday\, November 3 / 4–9:30PM \nPublic Days\nThursday\, November 4 / 12–8PM\nFriday\, November 5 / 12–8PM\nSaturday\, November 6 / 12–7PM\nSunday\, November 7 / 12–5PM \nVisit Michael Rosenfeld Gallery in Booth C2
URL:https://artinamericaguide.com/event/benny-andrews-for-the-love-of-god-at-the-art-show-2021-adaa/
LOCATION:ADAA-The Art Show\, Park Avenue Armory @ 67th Street\, New York\, NY\, NY\, 10065\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20211013
DTEND;VALUE=DATE:20211018
DTSTAMP:20260407T031502
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LAST-MODIFIED:20211011T134701Z
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SUMMARY:Michael Rosenfeld Gallery to present "Beauford Delaney: An American in Paris" at Frieze Masters
DESCRIPTION:Preview Days \nWednesday\, October 13 / 11–7\nThursday\, October 14 / 11–7 \nPublic Days\nFriday\, October 15 / 11–7\nSaturday\, October 16 / 11–7\nSunday\, October 17 / 11–6 \nVisit Michael Rosenfeld Gallery in Spotlight\, Booth H1 \n“[I have] worked terribly hard here in Europe and much has sundered and exploded\, but now it coalesces with lava-like smoke and fluid color\, sometimes a veritable flame\, other times subdued essences… yes\, I am again painting in my old feeling – tense\, difficult\, but compulsive\, and I love it.” —Beauford Delaney\, 1964 \nMichael Rosenfeld Gallery is proud to present a solo exhibition of abstract works by Beauford Delaney (1901–1979) at Frieze Masters 2021 in the Spotlight section curated by Laura Hoptman\, Executive Director of The Drawing Center. Internationally recognized within the canon of twentieth-century master painters\, Delaney began working in abstraction after relocating to Paris in 1953\, where a new sense of creative license propelled his art in an entirely non-objective direction. Notably\, Michael Rosenfeld Gallery’s presentation constitutes the first solo exhibition of Delaney’s work in the United Kingdom. Comprising nine works on canvas dating from c.1959 to 1965 and twenty-two works on paper dating from 1960 to 1968\, the exhibition constitutes a survey of the artist’s body of abstractions\, succinctly embodying the singular vision of the artist’s late career. \nAn extraordinary colorist whose style progressed from figurative expressionism to lyrical abstraction\, Delaney was born to a large family in Knoxville\, Tennessee\, where his father was a Methodist Episcopal preacher. Delaney’s artistic abilities were encouraged by his mother and\, when he was in high school\, his principal brought Delaney’s talent to the attention of local artist Lloyd Branson\, who became an important mentor to the young artist. In 1923\, Delaney left Knoxville for Boston\, Massachusetts where he attended studio art classes. The young artist also enthusiastically frequented the city’s museums\, where he first became familiar with the work of impressionist painters\, particularly Claude Monet. In 1929\, Delaney moved to New York City\, where he found work in the dance studio of Billy Pierce and began composing portraits of the studio’s dancers and socialite clientele. The following year\, the Whitney Studio Galleries (now the Whitney Museum of American Art) included a selection of the artist’s portraits in a group exhibition. Delaney’s work received critical attention and\, later that year\, the 135th Street Branch of the New York Public Library mounted Delaney’s first solo show\, Exhibit of Portrait Sketches by Beauford Delaney. \nDelaney soon found more lucrative work with the mural division of the Federal Art Project (a New Deal program sponsored by the Works Progress Administration). In 1936\, Delaney began attending the salons held in Charles Alston’s Harlem studio\, which served as a center for the most creative minds in the neighborhood; regulars included Norman Lewis\, Jacob Lawrence\, Augusta Savage\, Romare Bearden\, and Robert Blackburn. While he consistently participated in the Harlem art scene\, Delaney remained closely connected to the bohemian Greenwich Village community\, forming lasting friendships with writers and artists such as Henry Miller\, Alfred Stieglitz\, Georgia O’Keefe\, and Al Hirschfeld. Throughout the 1940s and into the early 1950s\, Delaney created portraits\, still lifes\, street scenes\, and modernist interiors executed with a dense impasto\, undulating lines\, and bright colors reminiscent of the fauvist tradition—a body of work now known as the “Greene Street” paintings (Delaney lived and worked at 181 Greene Street from 1936 until 1952). Though he was accepted into select circles of New York’s elite artists and intellectuals\, he continued to experience marginalization because of his race\, class\, and sexuality. \nIn September 1953\, Delaney followed in the footsteps of his dear friend James Baldwin and left New York City for Paris\, settling in Montparnasse. In 1954\, his work is included in the ninth Salon des Réalités Nouvelles at the Palais des Beaux-Arts de la Ville de Paris and\, the following year\, he had his first European solo show at Galería Clan in Madrid. Delaney moved to the Paris suburb of Clamart in December 1955 where\, feeling a new sense of freedom from racial and sexual biases\, he focused on creating non-objective abstractions. These works consist of elaborate\, fluid swirls of paint applied in luminous hues\, constituting pure\, concentrated expressions of light. While his abstractions have clear ties to Monet’s studies of light\, Delaney’s works are decidedly expressionist: the light Delaney sought to capture was not the actual light of day\, but a transcendent\, eternal\, spiritual light. These works were first exhibited in a solo exhibition at Galerie Paul Facchetti in 1960. In the months following the show\, Delaney experienced economic distress and severe psychiatric difficulties in the form of paranoia and depression\, which led to a suicide attempt in 1961. After a slow recovery period\, Delaney began work on a series of abstract works he referred to as his “Rorschach tests\,” paintings where\, as curator Joyce Henri Robinson writes\, light is “enshrouded or overwhelmed\, struggling to hold the forces of darkness at bay.” \nIn 1962\, Delaney moved to a studio at 53 Rue Vercingétorix in the Montparnasse district of Paris\, where he continued to produce abstractions alongside a stirring series of portraits\, scenes of Paris\, and landscapes of the French countryside he often visited. Despite financial and psychological hardship\, Delaney continued to work\, exhibit\, and live in Paris\, enjoying a string of successful exhibitions throughout the 1960s and early 1970s. He was honored by the Centre Culturel Américain in Paris in 1969 and\, in 1973\, Galerie Darthea Speyer mounted a major solo exhibition of his portraits and abstractions. In 1978 The Studio Museum in Harlem mounted the artist’s first institutional retrospective\, organized by scholar Richard A. Long. Delaney died on March 26\, 1979\, in Saint-Anne Hospital in Paris following several years of hospitalization for mental illness. Since his death\, Delaney’s oeuvre has been consistently championed by leading curators and art historians seeking to preserve his legacy\, resulting in several important monographs and exhibitions demonstrating Delaney’s prescient\, singular vision. \nDelaney is represented in major museum collections across the US and Europe\, including the Art Institute of Chicago (IL); Brooklyn Museum of Art (NY); Centre Georges Pompidou (Paris); Chrysler Museum of Art (Norfolk\, VA); Detroit Institute of Arts (MI); High Museum of Art (Atlanta\, GA); Knoxville Museum of Art (TN; The Metropolitan Museum of Art (New York\, NY); Musée Cantonal des Beaux-Arts (Lausanne\, Switzerland); Museum of Fine Arts (Boston\, MA); Museum of Modern Art (New York\, NY); National Portrait Gallery\, Smithsonian Institution (Washington\, DC); Philadelphia Museum of Art (PA); San Francisco Museum of Art (CA); Smithsonian American Art Museum (Washington\, DC); The Studio Museum in Harlem (New York\, NY); Virginia Museum of Fine Arts (Richmond); Walker Art Center (Minneapolis\, MN); and Whitney Museum of American Art (New York\, NY). \nCurrently on view at Michael Rosenfeld Gallery in New York: Be Your Wonderful Self: The Portraits of Beauford Delaney\, open through November 13\, 2021. \nMichael Rosenfeld Gallery LLC is Special Advisor and Representative of the Estate of Beauford Delaney.
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-to-present-beauford-delaney-an-american-in-paris-at-frieze-masters/
LOCATION:Frieze Masters\, The Regent’s Park\, London\, United Kingdom
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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DTSTART;VALUE=DATE:20210909
DTEND;VALUE=DATE:20210913
DTSTAMP:20260407T031502
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SUMMARY:Michael Rosenfeld Gallery at The Armory Show 2021
DESCRIPTION:Visit Michael Rosenfeld Gallery in Booth 317 and Platform \nInspired by the ancient Greek symbol of the phoenix—a bird reborn out of the ashes of its decayed predecessor—Michael Rosenfeld Gallery’s Armory Show exhibition will focus on rebirth and transformation\, presenting a selection of museum-quality works by artists central to the gallery’s program. Our booth presentation will feature paintings\, sculpture and works on paper evoking themes of hope and transcendence. Constituting the gallery’s first in-person exhibition beyond its own walls since the pandemic began\, the selection will span nearly a century of American art\, including both abstract and figurative compositions thematically unified by explorations of natural\, spiritual and personal reawakening. \nMichael Rosenfeld Gallery will also be included in The Armory Show’s Platform presentation\, a specially curated section of the fair reserved for large-scale or site-specific works. Titled Can you hear the fault lines breathing? and curated by Claudia Schmuckli\, Platform will include eight works speaking to the possibilities for unifying divided institutions through empathy. On view from Michael Rosenfeld Gallery will be the monumentally scaled Benny Andrews mural titled Circle (Bicentennial Series) (1973). Comprising twelve adjacent canvases and measuring  overall 120″ x 288″ / 304.8 x 731.5 cm\, the painting’s composition symbolizes the Black experience in the United States through the portrayal of an individual’s trauma born of America’s racist past and present. Surreal in style and rich in interpretive possibility\, Circle is an enduring testament to the country’s ongoing struggle toward collective reconciliation and racial justice.
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-the-armory-show-2021/
LOCATION:The Armory Show at the Javits Center\, 11th Avenue at 35th Street\, New York\, NY\, NY\, 10001\, United States
CATEGORIES:Art Fair,Event
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DTSTART;VALUE=DATE:20210908
DTEND;VALUE=DATE:20211224
DTSTAMP:20260407T031502
CREATED:20210830T195545Z
LAST-MODIFIED:20211020T181900Z
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SUMMARY:Be Your Wonderful Self: The Portraits of Beauford Delaney
DESCRIPTION:“[Beauford] Delaney repeatedly turned to art to annihilate the boundaries of fixed identity in ways that were not simply aesthetic…but also spiritual. Such ecstatic annihilations ran between his purely abstract paintings and his portraits\, animating his figurative and non-figurative work alike.”[1] —Mary Campbell \n“[I] have worked terribly hard…and much has sundered and exploded\, but now it coalesces with lava-like smoke and fluid color\, sometimes a veritable flame\, other times subdued essences…yes\, I am again painting in my old feeling—tense\, difficult\, but compulsive\, and I love it.”[2] —Beauford Delaney\, 1964 \nMichael Rosenfeld Gallery is pleased to announce its third solo exhibition of paintings by Beauford Delaney (American\, 1901–1979)\, which will contextualize the artist’s highly personal portraiture practice in relation to his compelling body of non-objective abstractions. \nFeaturing 25 portraits and 7 abstract works\, Be Your Wonderful Self: The Portraits of Beauford Delaney explores the preeminent status portraiture held in the artist’s life and work\, following the trajectory of his career from his “Greene Street” period in New York through his ardent embrace of pure abstraction after his relocation to Paris in 1953. By exhibiting Delaney’s portraiture alongside his abstractions\, the exhibition seeks to reveal the common intention with which the artist approached both genres of painting\, which came to dominate his artistic output for the remainder of his working years. Be Your Wonderful Self will be accompanied by an expansive catalogue\, publishing new scholarship by Mary Campbell\, Associate Professor of Art History at the University of Tennessee\, Knoxville\, and an illustrated chronology featuring an extraordinary selection of previously unpublished archival photos and ephemera. A special section of the publication will be dedicated to statements from such historical and contemporary voices as James Baldwin\, Richard Long\, Julie Mehretu\, Georgia O’Keeffe and Amy Sherald\, who describe the indelible impact Delaney’s work had on their practices and the broader evolution of 20th century modernism. \nThe scope of Be Your Wonderful Self encompasses Delaney’s mature career\, beginning with his masterful early portrait of a young James Baldwin\, Dark Rapture (1941)\, and terminating with his penetrating 1972 depiction of Jean Genet. Though its acclaim is well-earned\, Delaney’s technical mastery often eclipses his singular ability to capture individual temperament in his portraits—a capacity often augmented by the artist’s sincere and unconditional engrossment in his sitters. His distinctive formal approach to portraiture melds abstraction and figuration in such a way that the physical description of the sitter is secondary to their psychological essence; by emphasizing specific characteristics of their form (often including clothing or expression) Delaney renders each subject as an iconographic manifestation of their interior self. His bold fauvist palette and meticulously textured surfaces\, which range from densely encrusted to ethereally sheer\, unifies subject and background in a way that overshadows their corporeal presence\, rendering each painting a new\, holistic embodiment of its subject. Delaney often worked from memory when painting portraits\, an approach that imbues his pictures with a particular subjectivity rooted in the artist’s emotional and psychic relationship with his subjects; far from a narcissistic impulse\, Delaney embraced this approach as a means to making the imperceptible connection between artist and subject visible through a combination of formal exaggeration or simplification expressed through a meticulous chromatic exactitude.   Delaney’s abstractions were likewise conceived in his studio without a physical referent present—usually with the walls and other works in the space covered by white bedsheets to enhance the effects of the natural light—and testify to the intense drive for aesthetic experimentation he felt unable to adequately express in his figural works. Considered by the artist to be individual expressions of ineffable emotional or cosmic profundities\, the abstract works often acted as a receptacle for the overflow of creative passion that overwhelmed the artist after settling in Paris. By exhibiting these parallel bodies of work in conversation with each other\, Be Your Wonderful Self seeks to reveal the conceptual crux that unifies them\, namely the arresting treatment of tone and atmosphere inherent to the artist’s entire oeuvre. As critic and poet Jean Guichard-Meili wrote in a review of the artist’s 1964 exhibition at Galerie Lambert\, “Only a methodical and extended exercise of vision will permit [the abstract paintings] to be sensed and savored amid and beneath the network of color tones…the movements of internal convection\, the vibrations of underlying design. The portraits do not differ from the other works…Background\, clothing\, hands\, face are the pretext for autonomous harmonies.”[3] \nBiographically\, Delaney was as affable as he was generous\, often living in poverty due to his charitable nature. The artist’s good friend Henry Miller once summarized Delaney’s benevolent disposition: “He has made many\, many friends throughout his career\, and he never ceases to make new ones. He is not just a friend he is the friend\, the one who gives his all. Poor though he has been\, he has never given the impression of being miserable. He has always given to more than he received—that is to say\, himself.”[4] Delaney’s figurative paintings demonstrate his indiscriminate eye for subjects\, which variously depict family\, casually encountered acquaintances from all walks of life\, and friends from his wide circle of artists\, writers and other cultural luminaries. Though many in his social network were individuals of exceptional acclaim\, Delaney’s genuine warmth and interest extended to everyone he befriended regardless of social status\, including Larry Wallrich\, a Greenwich Village bookstore employee that became a lifelong friend\, and to whom the titular phrase of this exhibition was directed in a 1953 letter from the artist. \nAn abiding devotee of abstract expressionism\, Delaney felt compelled to pursue his interest in non-objective imagery in the mid-1950s\, after the artist’s relocation to Paris instilled in him a new sense of artistic freedom. Upon settling among the Parisian avant-garde scene of American expatriate artists that included Baldwin\, Bob Blackburn\, Harold Cousins and Sam Francis—the latter of whom\, along with Monet\, Delaney would credit as influential to his early abstractions—Delaney embraced this new mode of expression\, which became the prevailing approach to his practice in the years that followed. Though they bear no linear or formally descriptive elements\, Delaney’s abstractions contain the same level of meticulous individualism in composition\, palette\, and surface quality as his portraits\, manifesting a highly expressionistic handling of surface to elicit an energetic sense of movement and formal interplay. \nIndeed\, despite constituting such a drastic stylistic leap in comparison to his Greene Street period\, the abstractions’ place alongside Delaney’s portraiture in the timeline of his career reveals an ideological consistency in the artist’s conception of painting\, which he understood as an endeavor to embody light through paint with the same universal illumination with which it makes the world itself visible. “My work intensifies itself and some of the years of groping begin to take root in color and form\,” Delaney wrote to Miller in 1964. “The human situation invades and pours. I am humbly dedicated and try to find orchestration for this deluge…One tries to speak through the brush the tangible and intangible feelings. They permit the vast panorama of things before\, present\, and future.”[5] \nMichael Rosenfeld Gallery LLC is Special Advisor and Representative of the Estate of Beauford Delaney. \nMore information on Beauford Delaney (1901–1979). \nMichael Rosenfeld Gallery will also be presenting a solo exhibition of Beauford Delaney’s abstract works at Frieze Masters (Spotlight\, Booth H1\, October 13–17\, The Regent’s Park\, London). \nAll works © Estate of Beauford Delaney\, by permission of Derek L. Spratley\, Esquire\, Court Appointed Administrator \n[1] Mary Campbell\, “Beauford Delaney in Ecstasy\,” in Be Your Wonderful Self: The Portraits of Beauford Delaney\, exhibition catalogue (New York\, NY: Michael Rosenfeld\, 2021).\n[2] Beauford Delaney\, Letter to Henry Miller\, May 21\, 1964\, quoted in David Leeming\, Amazing Grace: A Life of Beauford Delaney (New York\, NY: Oxford University Press\, 1998)\, p. 162.\n[3] Jean Guichard-Meili\, trans. Richard A. Long\, Arts\, December 16–22\, 1964\, p. 27.\n[4] Henry Miller\, Letter to Darthea Speyer\, September 26\, 1972\, in Galerie Darthea Speyer Records\, Archives of American Art\, Smithsonian Institution\, Washington DC.\n[5] Beauford Delaney\, Letter to Henry Miller\, May 21\, 1964\, quoted in David Leeming\, Amazing Grace: A Life of Beauford Delaney (New York\, NY: Oxford University Press\, 1998)\, p. 163.
URL:https://artinamericaguide.com/event/be-your-wonderful-self-the-portraits-of-beauford-delaney/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210505T100000
DTEND;TZID=America/Halifax:20210514T180000
DTSTAMP:20260407T031502
CREATED:20210507T134600Z
LAST-MODIFIED:20210507T135914Z
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SUMMARY:Michael Rosenfeld Gallery | Frieze 2021
DESCRIPTION:Michael Rosenfeld Gallery is delighted to participate in Frieze Viewing Room – presented online in conjunction with Frieze New York – exhibiting a selection of works on paper by leading abstractionists Barbara Chase-Riboud (b.1939)\, Ed Clark (1926-2019)\, Beauford Delaney (1901-1979)\, Sam Gilliam (b.1933)\, Norman Lewis (1909-1979)\, Alma Thomas (1891-1978)\, Jack Whitten (1939-2018)\, William T. Williams (b.1942) and Hale Woodruff (1900-1980). A selection from the online exhibition will be installed in our viewing room at 100 Eleventh Avenue.
URL:https://artinamericaguide.com/event/michael-rosenfeld-frieze-2021/
CATEGORIES:Art Fair,Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201202
DTEND;VALUE=DATE:20201207
DTSTAMP:20260407T031502
CREATED:20201204T171707Z
LAST-MODIFIED:20201204T171707Z
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SUMMARY:OVR-Sized: Masterworks of Postwar Abstraction
DESCRIPTION:For our Art Basel Miami Beach online viewing room\, we present OVR-Sized: Masterworks of Postwar Abstraction\, featuring a rotating selection of over-sized and heroically-scaled highlights of postwar abstraction created between 1949 and 1976. Featured artists include Norman Bluhm (1921-1999)\, Jay DeFeo (1929-1989)\, Beauford Delaney (1901-1979)\, Sam Gilliam (b.1933)\, Michael Goldberg (1924-2007)\, Nancy Grossman (b.1940)\, Alfred Jensen (1903-1981)\, Alfred Leslie (b.1927)\, Norman Lewis (1909-1979)\, Conrad Marca-Relli (1913-2000)\, Boris Margo (1902-1995)\, Alfonso Ossorio (1916-1990)\, Richard Pousette-Dart (1916-1992)\, Milton Resnick (1917-2004)\, Alma Thomas (1891-1978)\, Jack Tworkov (1900-1982) and William T. Williams (b.1942). \nIn the new normal of virtual viewing rooms\, we have curated a fantasy space where\, unconfined by the constraints of modular art fair walls and normal booth scale\, we can dream big and showcase a selection of grand-scale paintings by key figures of postwar art. In this imagined space\, bigger is better! \nThe exhibition showcases one exemplary masterwork by each of the artists\, epitomizing their significant contributions to the canon of 20th century art history through the intentionality and variety of their unique mark-making\, textural concerns and structural techniques. Whether through a visual language that is calligraphic or gestural\, impastoed or collaged\, our selection defines and exemplifies their visionary approaches to abstraction. Each artist – in their epic proportions and bold compositions – embody what art historian Irving Sandler famously described as the “triumph of American painting.” \nTo view a checklist for the gallery’s OVR: Miami Beach presentation\, click here.
URL:https://artinamericaguide.com/event/ovr-sized-masterworks-of-postwar-abstraction/
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201028
DTEND;VALUE=DATE:20201101
DTSTAMP:20260407T031502
CREATED:20201028T154030Z
LAST-MODIFIED:20201028T154105Z
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SUMMARY:OVR:20c: Figuring America
DESCRIPTION:Michael Rosenfeld Gallery is pleased to participate in OVR:20c\, Art Basel’s latest online viewing room dedicated to art made between 1900 and 1999. OVR:20c will be live from October 28 to October 31; our presentation Figuring America will be online alongside 100 international galleries and on-site at Michael Rosenfeld Gallery for the duration of this virtual platform. \nRepresenting currents of 20/21 century American portraiture\, Figuring America will include signature masterpieces in both painting and sculpture by Benny Andrews (1930-2006)\, Milton Avery (1885-1965)\, Richmond Barthé (1901-1989)\, Beauford Delaney (1901-1979)\, Nancy Grossman (b.1940) and Charles White (1918-1979). In times of societal upheaval\, many artists have turned to representations of the figure in search of and as recognition of a collective existence—either as a personal expression or as a touchpoint for shared\, life-affirming experience. In this current moment of unprecedented isolation and social reckoning\, our desire is to share a story of common humanity. \nTo schedule an appointment to view our OVR:20c exhibition at the gallery\, click here.
URL:https://artinamericaguide.com/event/ovr20c-figuring-america/
CATEGORIES:Virtual Events + Viewing Rooms
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200926
DTEND;VALUE=DATE:20210124
DTSTAMP:20260407T031502
CREATED:20200917T175524Z
LAST-MODIFIED:20210107T222212Z
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SUMMARY:Benny Andrews: Portraits\, A Real Person Before the Eyes
DESCRIPTION:“I start out\, I make a mess… I have to throw myself off so I don’t copy what is right on top of my mind. Because if I just draw out or paint on something\, I’m just copying what’s in my mind. I’m trying to get deeper than that into my unconscious… I start out with a face and when I get a face that conveys a feeling to me of a real person\, and I mean in feeling—I don’t mean in realistic photographic likeness\, but I mean feeling. When I get some that looks like a real face then I’m on my way… A cardboard person\, no matter how real their surroundings are\, [is] still cardboard. So\, that’s what I’m trying for… some kind of strength. Whatever it is depends on whatever I’m trying to say—happiness\, love\, all those kinds of things. But if I get a real person before the eyes\, then I’m on my way.”[1] —Benny Andrews\, 1968 \nMichael Rosenfeld Gallery is pleased to present its third solo exhibition for Benny Andrews (American\, 1930–2006)\, showcasing portraits—a vital and constant genre throughout the artist’s oeuvre. Scheduled to open on Saturday\, September 26\, 2020\, Benny Andrews: Portraits\, A Real Person Before the Eyes will feature 35 portraits\, represented by paintings and works on paper created between 1957 and 1998. The exhibition will be accompanied by a fully-illustrated color catalogue with new scholarship by Jessica Bell Brown\, Associate Curator for Contemporary Art\, The Baltimore Museum of Art; Connie H. Choi\, Associate Curator\, Permanent Collection\, The Studio Museum in Harlem; and Kyle Williams\, Director of the Andrews-Humphrey Family Foundation. \nBenny Andrews: Portraits\, A Real Person Before the Eyes traces Andrews’ commitment to portraiture\, beginning in 1957 with Andrews’ seminal collage painting Janitors at Rest\, and including portraits of fellow artists Marcel Duchamp\, Ludvik Durchanek\, Norman Lewis\, Ray Johnson\, Alice Neel\, and Howardena Pindell\, and also of his father George C. Andrews\, and wife\, Nene Humphrey. While Andrews created portraits of people he knew\, as well as of himself\, portraiture also served as a vehicle through which he could metaphorically express the personification of ideas\, thoughts\, emotions and values. \nIn his deeply humanizing portraits\, Andrews employed his signature and pioneering use of paint and collage to build surface in order to create depictions composed of fleshy tactility\, extending his sitters into three-dimensional space as a way of reinforcing their human presence and defining their distinct characteristics\, since “collage provided him with a degree of depth and breadth not found in painterly realism.”[2] Indeed\, his discovery of collage and texture was a way to construct surface in order to affirm his interest in both the individual and shared experience of humanity. His powerful depictions of people—both named and unnamed—reinforce his deep connection to the emotional soul of mankind. \nSearching for a visual language to capture the immediacy of everyday life and the quotidian nature of his subject matter\, Andrews first developed his “rough collage” technique\, combining scraps of paper and cloth with oil paint on canvas\, as a student. He honed this technique in a breakthrough period during his studies at the School of the Art Institute of Chicago\, when\, in 1957\, he was struck by the school’s African American janitors and created the pivotal Janitors at Rest\, which first introduced collage into his painting. This critical component would inform the rest of his artistic career. The work—begun during his last year of school—became a turning point for him as he began to completely devote himself to painting. At the same time\, he began studying with the painter Boris Margo (1902-1995)\, “the instructor who had encouraged him to paint what he knew\, what he felt.”[3] Indeed\, Andrews was inspired by the janitors and their environment\, studying their faces and experimenting with their materials—like towels and toilet tissues. The artist wrote: \n“I placed the two little wads of tissues on a stool in front of my newly stretched canvas and sat back and started to think\, Who are these men? They are the school janitors to us\, Black and White\, but in their minds they were much more. Yet here I am trying to think of some way to express my feelings for them that transcends the superficial jobs that they are stuck with\, but how? I started fingering the two wads of paper and I thought\, ‘Why not paste it on my canvas with no prescribed idea of designs or even picture\, just paste it on at random. I know it is representative of an environment that they exist in\, so if I put that on my canvas\, and started playing around with ideas of them and so forth\, maybe I’ll come up with an idea that is not so commonplace.’ I did that and then I started painting their faces. I smeared paint. I kept turning the canvas around\, and I even went back to the men’s room a couple of times to talk with them that afternoon. I started working with collage that way\, and I have been using it ever since.”[4] \nIn her essay for the exhibition’s catalogue\, Jessica Bell Brown writes of Andrews’ remarkable portraits: “Taken together\, these works signal what it means to be at once the beholder and image-maker\, to open new portals for irreducible sensibilities unique to those being portrayed. Andrews’ empathetic brush has over the course of time straddled the line between inventiveness and observation\, and honed the ability to truly grapple with all the complexities of identity and self-making. In this contemporary moment of evident and renewed socio-political reckoning\, Andrews’ portraits are faithful models for holding space for the expansiveness of subjectivity and personhood in American art.”[5] \nIn 2009\, Michael Rosenfeld Gallery LLC became the representative of the Benny Andrews Estate and this exhibition has been organized with their cooperation. \nMore information on Benny Andrews (1930-2006). \n  \nIn light of the current public health crisis and to prioritize the well-being of our staff & visitors\, the gallery is currently open by appointment only. We ask all visitors to wear a mask when inside the gallery. \nTo schedule your visit\, click here.
URL:https://artinamericaguide.com/event/benny-andrews-portraits-a-real-person-before-the-eyes/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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