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DTSTART;VALUE=DATE:20260226
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SUMMARY:Music & Art | Frieze Los Angeles
DESCRIPTION:Michael Rosenfeld Gallery is pleased to announce its return to Frieze Los Angeles 2026 for the fifth consecutive year with a group presentation that celebrates the intertwining relationship between music and the visual arts. \nLearn more \n\nImage Caption:\nRomare Bearden (1911-1988)\nOf the Blues: New Orleans Farewell\, 1974\nCollage of various papers with acrylic on Masonite\n43 3/8 x 49 1/2 inches / 110.2 x 125.7 cm\nsigned
URL:https://artinamericaguide.com/event/music-art-frieze-los-angeles/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240229
DTEND;VALUE=DATE:20240304
DTSTAMP:20260614T010804
CREATED:20240226T153841Z
LAST-MODIFIED:20240302T224904Z
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SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles 2024\, Booth A16
DESCRIPTION:Michael Rosenfeld Gallery is pleased to return to Frieze LA with an exhibition of major paintings and works on paper by Beauford Delaney\, Norman Lewis\, and Alma Thomas. Of the same generation and active in Paris\, New York\, and Washington\, DC\, respectively\, these painters pioneered some of the most advanced approaches to abstraction of the twentieth century. Works on view at Booth A16 will focus on the most productive decades of the artists’ careers—the 1950s through the 1970s—presenting an illuminating survey of an unparalleled era in American painting. \nLike their abstract expressionist contemporaries\, Delaney\, Lewis\, and Thomas privileged the individual painterly gesture as a means to conveying an essential truth\, each forging visionary approaches to non-objective painting predicated upon the authenticity of the brushstroke. All three artists were resolute in their commitment to abstraction throughout their careers despite inadequate critical and institutional attention as well as pressure from certain circles within their own community to create representational images that directly addressed the Black experience. As art historian Dr. Lowery Stokes Sims writes\, these artists’ approaches to painting were grounded in their distinct but intersecting theories of abstraction: “For Delaney\, abstraction’s significance came through in the healing properties of color; for Lewis\, abstraction articulated the interaction of art and social events; and for Thomas\, its critical aspect consisted of post-Post-Impressionist chromatic evocations of time\, place\, sensibility and mood.”[1] \nBorn and raised in Knoxville\, TN\, Beauford Delaney (1901–1979) cultivated a vivid\, expressionist style of semi-representational painting during his twenty-three years in New York City’s Greenwich Village\, where he settled in 1930. His turn to abstraction occurred shortly after he followed his dear friend James Baldwin to Paris in September of 1953—a pivotal moment in his life and work. Though he continued to create portraits for the rest of his career\, Delaney’s primary output soon evolved into purely non-objective expressions of light and color\, wherein gestural brushstrokes constitute both form and subject. \nBooth A16 presents an exemplary selection of Delaney’s abstract works on canvas and paper including a large-scale painting of exceptional quality\, Untitled (Waning Light: Abstraction) (1963). Demonstrative of the complexity of Delaney’s impastoed surfaces\, this work is dominated by lyrical scumbles of bright yellow that swirl across a multicolored ground\, constituting a wholly abstract exploration of the flickering light of early evening. Yellow was a particularly important color for Delaney\, holding connotations of a spiritual\, illuminatory radiance\, and his yellow abstractions are widely admired as embodiments of exaltation\, ecstasy\, and rapture. As Baldwin once wrote\, “When we stand in front of a Delaney painting\, we are\, my friends\, in the light: and if in that light\, which is both loving and merciless\, we can confront each other\, we are liberated by the perception that darkness is not the absence of light\, but its denial.”[2] \nFollowing a similar artistic trajectory\, Norman Lewis (1909–1979) began his career in the 1930s as a social realist painter but eventually became disillusioned with art’s capacity to inspire social and political change. He began experimenting with abstraction in the 1940s\, producing semi-representational cubist works before arriving at his mature\, fully abstract style by the end of the decade. Born and raised in Harlem\, Lewis lived in New York his entire life\, drawing inspiration from the city’s creative scenes and daily bustle. Throughout the 1950s he honed his approach to abstraction\, which typically involved diffuse atmospheres of color and delicate\, calligraphic linework. Music and activism were central to Lewis’ life\, and he subtly addressed these and other interests throughout his oeuvre. Exemplary of this impulse is Untitled (Players Four) (1966)\, which captures the improvisational energy of a jazz quartet in action. Simultaneously suggesting musical notations\, the movements of the musicians\, and the visual embodiment of sound itself\, Lewis’ painting palpably conveys a rhythmic\, free-flowing harmony through purely abstract means. \nAnother of Lewis’ major achievements\, Untitled (1978) is a standout example of Lewis’ final series of works known as the Seachange compositions. Comprising a central motif of ovoid forms radiating outward\, this painting on paper suggests the undulating movement of the sea\, light reflecting off the water\, and the reverberating sound of wind and waves. In titling these works with a term for a prevailing shift in public perception\, Lewis imbues them with a political overtone\, referencing the changing plight of Black Americans following the political upheavals of the 1960s. Taken as a whole\, Lewis’ works embody the artist’s eloquently stated understanding of art as “the expression of unconscious experiences common to all men… In this sense\, it becomes an activity of discovery\, emotional\, intellectual\, and technical\, not only for the artist but for those who view his work.”[3] \nBorn in Columbus\, GA\, Alma Thomas (1891–1978) was the first person to graduate from Howard University’s newly founded fine art department in 1924\, after which she led a thirty-five-year career as an art teacher in Washington\, DC public schools. She studied art at American University in the late 1950s\, experimenting with realism before turning to abstraction after retiring from teaching in 1960\, when she was able to devote herself full-time to painting. Throughout the 1960s\, Thomas produced a vibrant body of works on paper defined by diaphanous washes of color\, over which she applied elegant\, linear brushwork and vibrant strokes of saturated pigment. Untitled (1962) is one of the best examples of this approach\, reflecting Thomas’ interest in capturing the flitting optical effects and sensual colors of botanical subjects and scenes from nature. \nAnother noteworthy inclusion is Summer at Its Best (1968)\, a large-scale “stripe” painting comprised of rhythmic daubs of exuberant colors against a bright white ground. This work belongs to Thomas’s seminal Earth Paintings series\, a group of works that constitute abstracted visions of the interaction between wind\, light\, and the flowers that were a beloved subject throughout her career. Inspired by the beauty of nature\, the Space Race\, and her own observations of earthly and celestial phenomena\, Thomas’s paintings reflect her belief that art can transcend political and historical concerns. “Color is life\,” she once stated. “Light is the mother of color. Light reveals to us the spirit and living soul of the world through colors.”[4] \nPresenting a selection of works on canvas and paper exemplary of each artist’s oeuvre\, Michael Rosenfeld Gallery’s Frieze LA exhibition offers a unique insight into a key era in the history of American painting. Though each artist expressed disparate ideas through their specific theories of abstraction\, all three artists structured their painting practice around the seemingly boundless capacity of the brushstroke to convey their respective concerns through non-representational means. After decades of exploring the “potential of form\, color and gesture to evoke the emotions of a given situation\,”[5] as Sims writes\, Delaney\, Lewis\, and Thomas passed away within a year of each other\, leaving behind some of the most significant contributions to twentieth-century American art and providing a wealth of inspiration for future generations of abstract painters. \nThe works of Beauford Delaney\, Norman Lewis\, and Alma Thomas have been integral to Michael Rosenfeld Gallery’s program since its founding over thirty-five years ago. The presentation at Frieze LA revisits an exhibition the gallery organized in 2005\, STROKE!: Beauford Delaney\, Norman Lewis\, & Alma Thomas\, which was accompanied by a catalogue publishing original scholarship by art historian Lowery Stokes Sims. In addition to being consistently included in the gallery’s group exhibitions\, Delaney\, Lewis\, and Thomas have each been the subject of multiple solo exhibitions at the gallery. In the fall of 2001\, Michael Rosenfeld Gallery mounted Alma Thomas: Phantasmagoria\, Major Paintings from the 1970s\, for which an exhibition catalogue with an essay by Dr. Sims was published\, and in the spring of 2015 Alma Thomas: Moving Heaven & Earth\, Paintings and Works on Paper opened to widespread acclaim. \nMichael Rosenfeld Gallery has organized six solo exhibitions of Lewis’ work: Norman Lewis: Intuitive Markings\, Works on Paper 1945–1975 (May–August 1999); Norman Lewis: Abstract Expressionist Drawings\, 1945–1978 (January–March 2009); Norman Lewis: PULSE\, A Centennial Exhibition (November–December 2009); Norman Lewis: A Selection of Paintings and Drawings (January–March 2016); Norman Lewis: Looking East (November 2018–January 2019); and\, most recently\, Norman Lewis: Give Me Wings to Fly (September–November 2023)\, which was dubbed a “a tour de force presentation” by Donald Kuspit for Artforum. The gallery became the exclusive representative of the Estate of Norman Lewis in 2014 and has produced five catalogues on the artist publishing new scholarship by art historians David Anfam\, Andrianna Campbell\, Ruth Fine\, and Tetsuya Oshima. \nThe gallery’s commitment to championing the legacy of Beauford Delaney is equally longstanding. In 1995\, the gallery mounted Beauford Delaney: 1960s Paris\, which was followed by Beauford Delaney: Liquid Light in 1999\, for which a catalogue with an essay by Delaney biographer David Leeming was published. Michael Rosenfeld Gallery became a special advisor to and representative of the Estate of Beauford Delaney in 2018\, after which the gallery organized the critically acclaimed exhibition Be Your Wonderful Self: The Portraits of Beauford Delaney (September–December 2021). The exhibition traveled to the Ogden Museum of Southern Art in 2022\, when the gallery released an accompanying catalogue with an essay by Mary Campbell\, Associate Professor of art history at The University of Tennessee\, Knoxville\, who is currently writing a biography on Delaney. \n[1] Lowery Stokes Sims\, “Stroke: Style\, Technique\, Culture and Politics\,” in Stroke! Beauford Delaney\, Norman Lewis and Alma Thomas\, exh. cat. (New York: Michael Rosenfeld Gallery\, 2005)\, p. 5. \n[2] James Baldwin\, quoted in Beauford Delaney\, exhibition catalogue (Paris: Galerie Darthea Speyer\, 1973)\, n.p. \n[3] Norman Lewis\, artist statement\, quoted in the exhibition brochure for his October 1954 solo exhibition Norman Lewis at Willard Gallery\, New York\, NY \n[4] Alma Thomas\, quoted in Alma Thomas\, exhibition catalogue (New York: Whitney Museum of American Art\, 1972)\, n.p. \n[5] Sims\, “Stroke: Style\, Technique\, Culture and Politics\,” p. 10.
URL:https://artinamericaguide.com/event/frieze-los-angeles-2024-booth-a16/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
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DTSTART;VALUE=DATE:20220217
DTEND;VALUE=DATE:20220221
DTSTAMP:20260614T010804
CREATED:20220217T151431Z
LAST-MODIFIED:20220217T151431Z
UID:92165-1645056000-1645401599@artinamericaguide.com
SUMMARY:Michael Rosenfeld Gallery at Frieze Los Angeles\, Booth D20
DESCRIPTION:For its inaugural participation at Frieze Los Angeles\, Michael Rosenfeld Gallery (Booth D20) is pleased to present an exhibition of historical works by eight artists essential to the canon of 20th-century figurative art: Benny Andrews (1930–2006)\, Richmond Barthé (1901–1989)\, Elizabeth Catlett (1915–2012)\, Robert Colescott (1925–2009)\, Beauford Delaney (1901–1979)\, Augusta Savage (1892–1962)\, Bob Thompson (1937–1966) and Charles White (1918–1979). The exhibition is curated to complement the Black American Portraits exhibition currently on view at the Los Angeles County Museum of Art (LACMA) and builds upon the successes of the 2019 shows Charles White: A Retrospective at LACMA and Soul of a Nation: Art in the Age of Black Power\, 1963–1983 at The Broad. Spanning nearly three-quarters of a century\, works on view provide deeper insight into the history of American art laid out by Los Angeles’ premiere institutions. At a time when the art world finds itself in the midst of a figurative renaissance among contemporary Black artists\, Michael Rosenfeld Gallery is proud to assemble an exhibition celebrating the exceptional vision of the artists who were essential precedents to the current era. \nThree of the artists in the presentation have direct ties to California. Charles White resided in Los Angeles from 1956 until his death in 1979\, creating several of his most renowned works in his Altadena studio while teaching at the Otis Art Institute (now Otis College of Art and Design). Notably\, White mentored David Hammons and Kerry James Marshall when they were students at Otis. In his socially conscious art\, White sought to portray African Americans in a manner that foregrounded his subjects’ dignity and humanity. A standout work in our Frieze exhibition is White’s Leadbelly (1975)\, a monumental portrait of the legendary folk and blues musician Huddie William “Leadbelly” Ledbetter. The work is the result of a commission White received to illustrate the album cover for the soundtrack to Gordon Parks’ feature film Leadbelly (Paramount Studios\, 1976). Oakland native Robert Colescott addresses the contradictions inherent to Black American life through his satirical compositions\, which simultaneously skewer and lay claim to the national collective memory from which people of color are often excluded. In such paintings as The French in Louisiana (1988)\, Colescott lampoons the social conventions surrounding identity and desire\, revealing the larger power structures that establish and enforce them. Harlem Renaissance sculptor Richmond Barthé spent the majority of his career in New York and Jamaica but relocated to the mild climes of Pasadena in 1977. There he met actor James Garner\, who became a dear friend and important benefactor. It was around this time that another highlight of our presentation\, a 1970s cast of Barthé’s celebrated sculpture The Negro Looks Ahead was created (the original clay sculpture dates to 1942). Celebrating the beauty\, strength\, and fortitude of Black men\, the work testifies to Barthé’s masterful technical ability as well as his exceptional capacity for imbuing his subjects with a sense of grace and vitality. \nAnother eminent Harlem Renaissance sculptor\, Augusta Savage\, will also be featured in Booth D20. Gamin (c.1930) is one of Savage’s best-known works and is emblematic of the artist’s superior talent for capturing her sitters’ distinguishing features while conveying a clear impression of their interior life. Here the artist frames her subject—her nephew\, Ellis Ford—in a format traditionally reserved for royalty or persons of influence; yet\, where classical busts portray their subjects in a detached\, idealized manner\, Savage includes the boy’s informal dress and engaging expression\, accentuating his individuality and vulnerability. Rounding out the presentation’s sculpture selection is Pensive (1946\, cast 1967) by Elizabeth Catlett.  Known for her commitment to social justice in both her art and her life\, Catlett built her career on the faithful representation of working-class Black women’s struggles and joys. Pensive is one of her earliest works and features all the hallmarks of her mature style\, including a finely detailed texture\, simplified features\, and a balanced juxtaposition of curves and angles—all of which coalesce into a highly emotive portrayal of a contemplative\, melancholic woman. \nAdditional highlights in the exhibition’s painting selection include Bob Thompson’s Untitled (Oh Lawd!) (1962)\, a compelling work demonstrative of the artist’s unique compositional approach\, wherein select elements of historic European masterpieces are reimagined in his own expressionistic\, fauvist-inflected style. Here Thompson borrows from one of Francisco Goya’s Los Caprichos etchings (1797–1799)\, rendering Goya’s composition in simplified forms and a high-keyed palette while inserting his own personal symbolism. Thompson was deeply inspired by jazz\, and art historians have often compared his revision of Old Master paintings to jazz’s emphasis on riffing and reiteration. A similarly imposing work\, Malice (1978) by Benny Andrews—one of Thompson’s peers on the Lower Manhattan scene—is also included in the exhibition. Emotionally detached and impenetrably cryptic\, Andrews’ anonymous sitter exemplifies the artist’s career-long engagement with archetypal figures and embodied themes. His highly symbolic compositions are executed with paint\, fabric and various found materials\, and often convey an intense psychological state. In contrast to the foreboding tone of Thompson and Andrews’ works\, Beauford Delaney’s Untitled (Portrait of a Young Man) (c.1963) constitutes a reverent celebration of the human spirit. Notable for its profusion of yellow\, the work demonstrates Delaney’s unparalleled mastery of color\, capturing the essence of its sitter through the artist’s distinctive blend of abstraction and figuration. For Delaney\, the color yellow held connotations of sanctity\, and he applied it generously to subjects he wanted to portray as sources of a radiant\, spiritual light. \nOrganized to provide art historical context to LACMA’s presentation of The Obama Portraits by Kehinde Wiley and Amy Sherald (currently on view at the High Museum of Art in Atlanta)\, Black American Portraits features over 140 works drawn primarily from the museum’s collection. The museum’s works are augmented by several loans from Michael Rosenfeld Gallery\, which has provided paintings by Charles Alston\, Benny Andrews\, John Biggers\, Beauford Delaney\, Eldzier Cortor and Archibald Motley to expand the parameters of this important chronicle of Black American portraiture. The exhibition comes nearly half a century after David Driskell’s groundbreaking 1976 exhibition at LACMA\, Two Centuries of Black American Art 1750–1950. Coinciding with the nation’s bicentennial\, the show provided a revelatory understanding of Black artists’ contributions to American culture. In 2008\, Michael Rosenfeld Gallery staged African American Art: 200 Years\, a historical survey in the legacy of Driskell’s exhibition; accompanied by a catalogue publishing new scholarship by Lowery Stokes Sims\, the show featured 38 artists ranging from 19th-century masters Henry Ossawa Tanner and Charles Ethan Porter to midcentury figures such as Hughie Lee-Smith and Alma Thomas\, as well as current stars of the contemporary scene Betye Saar and Sam Gilliam. \nFounded in 1989\, Michael Rosenfeld Gallery has consistently championed the careers of the eight artists in our Frieze Los Angeles presentation. Recent gallery group and solo exhibitions have included RISING UP/UPRISING: Twentieth Century African American Art (March–May 2014); Figuratively Speaking (November 2017–January 2018); Truth & Beauty: Charles White and His Circle (September–November 2018); Benny Andrews: A Real Person Before the Eyes (September 2020–January 2021); and Be Your Wonderful Self: The Portraits of Beauford Delaney (September–December 2021). Presently\, the gallery represents the estates of Benny Andrews\, Beauford Delaney and Bob Thompson. \nVisit Michael Rosenfeld Gallery in Booth D20
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-frieze-los-angeles-booth-d20/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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