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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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DTEND;VALUE=DATE:20211205
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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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DTEND;VALUE=DATE:20211108
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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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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:20260407T160844
CREATED:20210902T205955Z
LAST-MODIFIED:20210902T205955Z
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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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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Armory Show at the Javits Center 11th Avenue at 35th Street New York NY NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=11th Avenue at 35th Street:geo:-74.0015064,40.7564465
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210908
DTEND;VALUE=DATE:20211224
DTSTAMP:20260407T160844
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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DTSTART;TZID=America/Halifax:20210505T100000
DTEND;TZID=America/Halifax:20210514T180000
DTSTAMP:20260407T160844
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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:20260407T160844
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:20260407T160844
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:20260407T160844
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
GEO:40.7460874;-74.0076191
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200704
DTEND;VALUE=DATE:20200822
DTSTAMP:20260407T160844
CREATED:20200706T132310Z
LAST-MODIFIED:20200812T151619Z
UID:69607-1593820800-1598054399@artinamericaguide.com
SUMMARY:Going to Sea
DESCRIPTION:An escape to the seaside signals the arrival of summer days and the restless yearning for adventure. The sea—at once a tranquil oasis and an unpredictable temptation—has had an eternal lure\, drawing in swimmers\, sailors and explorers with the smell of salty air\, the feel of warm sand and the sound of crashing waves. For the arrival of this most unusual July—the seventh month of the year\, named for the Roman general Julius Caesar—we feature seascapes in a range of styles and mediums that capture life by the shore: one that is bustling and teeming with sea craft\, boisterous crowds\, beach games and graceful birds\, as well as one of sublime isolation—a liminal place on the edge of the world where land meets the great expanse and unknown of the ocean. These portraits of the sea depict marine pastimes like fishing and sailing\, swimming and sunbathing\, as well as its inhabitants—from birds and fish to the mythic creatures of our wild imaginations. They evoke all that is unique to the coastal shoreline—from the natural: the shimmer of the sun as it reflects off ever-moving water\, the early morning mist that wafts over its surface\, the bite of the salty breeze\, the call of seabirds on the hunt—to those sights and sounds distinguished by centuries of leisurely human pleasures: the anticipation of cool water on hot skin\, the laughter elicited from a wave’s spray\, the solace of a shady umbrella\, the simple joy of a sandcastle\, the communion of friends and family. We hope you find some beach time this summer and\, as Ralph Waldo Emerson encouraged\, “Live in the sunshine\, swim the sea\, Drink the wild air’s salubrity…”[1] \nGoing to Sea features works by Milton Avery\, Leonid Berman\, Joseph Cornell\, James Daugherty\, Louis Eilshemius\, Morris Graves\, Robert Gwathmey\, Palmer Hayden\, Hans Hofmann\, William H. Johnson\, Lee Krasner\, Hughie Lee-Smith\, Norman Lewis\, Reginald Marsh\, Jan Matulka\, Fairfield Porter\, Theodore Roszak\, Charles G. Shaw\, Esphyr Slobodkina and Toshiko Takaezu. \n\nHughie Lee-Smith (1915-1999)\nUntitled (Man on Shore)\, 1956\nwatercolor on paper\n13 x 18 inches / 33 x 45.7 cm\nsigned
URL:https://artinamericaguide.com/event/going-to-sea/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/07/Lee-Smith-Untitled-Man-on-Shore-IMAGE-ONLY.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200613
DTEND;VALUE=DATE:20200704
DTSTAMP:20260407T160844
CREATED:20200616T162256Z
LAST-MODIFIED:20200622T215001Z
UID:68670-1592006400-1593820799@artinamericaguide.com
SUMMARY:New York Tough
DESCRIPTION:“Electrically illumined contours of buildings\, rising height upon height against the blackness of the sky now diffused\, now interknotted\, now pierced by occasional shafts of colored light. Altogether—a web of colored geometric shapes\, characteristic only of the Grand Canyons of New York at night.” —Max Weber [1] \nNew York City—the home of Michael Rosenfeld Gallery—has been a source of inspiration to artists for centuries. A global hub of creativity\, the metropolis has attracted artists from near and far who have consistently been drawn to its diverse community\, breathtaking vistas\, welcoming ports\, densely populated streets\, electrifying cacophony and arresting grit. In the mid-nineteenth century\, the city saw a rise in its artist population thanks to new construction and renovation of artist studios and apartments. From the 1850s onward\, with increased spaces for studios and purpose-built artist buildings\, the support of wealthy patrons\, and artist organizations like the National Academy of Art and Design\, New York became the center of American art. With the turn of the century came industrialization and urbanization with skyscrapers beginning to pierce the New York City landscape. An artist\, who came like all others for opportunity and promise\, was quite literally surrounded by the sights\, sounds and smells of urban architecture\, infrastructure and culture. Throughout the twentieth century\, artists of all movements and media have captured the appearance and essence of New York. From romantic and picturesque skyline landscapes\, to realistic scenes of industry and the gritty streets\, to imaginary\, dynamic\, and abstract modernist interpretations\, New York takes on myriad forms in the visual arts. Writer Richard Shepard once stated: “That is New York\, a soaring city of change in keeping with the soaring imagination of the artist.”[2] \nIn 1956\, famed curator and art historian Katharine Kuh organized the United States’ presentation at the 28th Venice Biennale with an exhibition titled American Artists Paint the City. Naming New York as the favorite model of the American city for artists nationwide\, Kuh used the exhibition to highlight the continued significance of New York as site and source for artists: \n“…Most artists use this\, the largest metropolis\, as their symbol. Despite or perhaps because of its greater loftiness and complexity\, they allow it to represent the multitude of other cities in the United States\, making it the cumulative symbol of urban America…Cacophonous traffic\, soaring architecture\, mammoth factories and sprawling slums are commonplaces\, but it remained for the writers and painters of America to discover new romance in these very elements…In American life as in America cities there is a disturbing multiplicity\, and overlay of sound\, color\, light and movement which unquestionably influences our artists. One feels the cumulative effect of too much—too fast—too soon…all these artists have one thing in common—the problem of coping with the unbounded turbulence of their surroundings.” —Katharine Kuh in American Artists Paint the City [3] \nThe artists we present in #NewYorkTough exemplify such an approach in their various depictions of New York City and the multiplicity of life in the urban environment. Their works—dating from 1912 to 2007—capture the metropolis from uptown to downtown\, from east to west\, and from street to sky\, intimately illustrating landmarks and thoroughfares. Infusing realism with aspects of modernism\, employing different modes of figuration and abstraction\, this exhibition represents New York City’s unparalleled energy\, pace and possibility. We are proud to be #NewYorkTough\, contributing to the city that for centuries has been a global hub of creativity and innovation. Today\, as New York City is at once both an epicenter of a global pandemic and the beating heart of a social justice movement\, we honor our home and the artists that have immortalized its incomparable vitality. \n\nMax Weber as quoted in Lloyd Goodrich\, Max Weber: Retrospective Exhibition exhibition catalogue (New York: Whitney Museum of American Art\, 1949)\, 29.\nRichard F. Shepard\, “Seeing the Evolution of New York City through Artists’ Eyes\,” The New York Times\, March 20\, 1987.\nKatharine Kuh\, “American Artists Paint the City\,” in American Artists Paint the City\, XXVIIIth Bienniale\, Venice\, 1956 exhibition catalogue (Chicago: The Art Institute of Chicago\, 1956)\, 7-9.
URL:https://artinamericaguide.com/event/new-york-tough/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/06/Marin-Movement.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200516
DTEND;VALUE=DATE:20200613
DTSTAMP:20260407T160844
CREATED:20200519T011008Z
LAST-MODIFIED:20200613T150510Z
UID:67788-1589587200-1592006399@artinamericaguide.com
SUMMARY:The Power of Play
DESCRIPTION:Hopscotch! Chess! Jump rope! Billiards! Football! Baseball! Cards! Make-believe! Hide-and-seek! All of these activities & more are part of our collective and shared American cultural experience. \n\n\nNow that we are spending more time at home\, without the distraction of live sports\, film\, theater\, and museums\, activities of playtime have become more crucial\, and more creative\, than ever. We present a selection of works from the 20th century that portray familiar and celebratory moments of Americans at play. Historically\, artists have turned to leisure and play as subject matter in an effort to capture the everyday pleasures of American families and communities. This focus on leisure—rather than work—follows an artistic lineage that began with the Impressionists and their representations of cafés\, boating\, picnics\, and ballet dancers. Into the 20th century\, American artists continued to depict recreational scenes from parties\, promenades\, sports\, and entertainment\, quite literally painting a picture of the American cultural landscape. In response to war\, economic turmoil\, and other hardships\, artists played the critical role of the attentive eyewitness—the illustrator of the everyday. Our selection of works demonstrates the wide array of pastimes and the universal experience of carefree play. In times of fear and containment\, portraits of amusement provide relief and escape from the everyday—powerful reminders of the joyful possibilities that await us in the future. \n\n\nThe concept of play was recently the subject of an exhibition at the Peabody Essex Museum in Salem\, MA. On view in early 2018\, PlayTime surveyed the rapidly evolving role of play in contemporary art and culture. On the occasion of the exhibition\, neuroscientist Sergio Pellis contributed an essay discussing the biological factors that make playfulness an innate trait and useful practice: \n\n\n“Humans have these two attributes—a very large prefrontal cortex and an exceptionally complex social system. As such\, it may not be surprising that humans are highly playful and play in more diverse ways than any other species. We have taken the heritage we have in common with bonobos and developed it to unanticipated dimensions. Art may be the quintessential expression of such playfulness. After all\, much art repeats well-known themes\, but artists can insert unexpected twists and turns into those themes. This unites the comfort of the familiar with the frisant of the unpredictable\, tapping into the roots of what we find pleasurable in play: it is a way in which to explore the unknown while remaining anchored in the known.” \n\n\n\n\n—Sergio Pellis\, “The (Neuro)Science Behind Play: An Essay” PlayTime exhibition website\, Peabody Essex Museum\, 2018 \n\nFrom our house to yours\, below is a list of selected resources from institutions—big and small—around the country that are supporting the power of play\, providing the tools for creative endeavors at home: \nAmerican Museum of Natural History\nChildren’s Museum of Manhattan—CMOM at Home\nThe Cleveland Museum of Art—Collection Connections\nDetroit Institute of Arts—Family Art Project\nLearning Resources—Activities & Workbooks\nThe Metropolitan Museum of Art—MetKids\nThe Museum of Modern Art—Destination Modern Art\nNational Geographic Kids\nThe New York Times Crossword\nPBS KIDS\nTinkergarten at Home\nThe Studio Museum in Harlem\nWhitney Museum of American Art \nWishing you fun and solace through the power of play!
URL:https://artinamericaguide.com/event/the-power-of-play/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/05/2020-05-18web3.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
END:VCALENDAR