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DTSTART;VALUE=DATE:20210908
DTEND;VALUE=DATE:20211224
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CREATED:20210830T195545Z
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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University of Tennessee\, Knoxville\, and an illustrated chronology featuring an extraordinary selection of previously unpublished archival photos and ephemera.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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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210505T100000
DTEND;TZID=America/Halifax:20210514T180000
DTSTAMP:20260412T065556
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:20260412T065556
CREATED:20201204T171707Z
LAST-MODIFIED:20201204T171707Z
UID:79166-1606867200-1607299199@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/12/V517.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201028
DTEND;VALUE=DATE:20201101
DTSTAMP:20260412T065556
CREATED:20201028T154030Z
LAST-MODIFIED:20201028T154105Z
UID:78580-1603843200-1604188799@artinamericaguide.com
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:20260412T065556
CREATED:20200917T175524Z
LAST-MODIFIED:20210107T222212Z
UID:77267-1601078400-1611446399@artinamericaguide.com
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200704
DTEND;VALUE=DATE:20200822
DTSTAMP:20260412T065556
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:20260412T065556
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:20260412T065556
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
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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