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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University of Tennessee\, Knoxville\, and an illustrated chronology featuring an extraordinary selection of previously unpublished archival photos and ephemera.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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SUMMARY:Alternative Worlds: Mary Bauermeister\, Lee Bontecou\, Claire Falkenstein\, Yayoi Kusama & Alma Thomas
DESCRIPTION:“Each new day\, science provokes us to readjust and adapt to a new view of our environment. Penetration into the microcosmic and the macrocosmic reality unquestionably brings into being heroic generalizations which affect our lives to the minutest detail.” [1] —Claire Falkenstein \n  \nMichael Rosenfeld Gallery is pleased to present Alternative Worlds\, a group exhibition featuring five artists whose practices center repetitive mark-making\, a deep interest in the intricacies of the natural world\, and the poetic rhythm inherent to the act of artistic creation. Musing on our understanding of the earth\, its place in the universe\, and our own humanity\, Mary Bauermeister (b.1934)\, Lee Bontecou (b.1931)\, Claire Falkenstein (1908-1997)\, Yayoi Kusama (b.1929)\, and Alma Thomas (1891-1978) each cultivated bodies of work whose central themes and technical approaches mirror each other in unexpected ways. Though each artist forged their own unique artistic voice with largely disparate styles and materials\, common thematic undercurrents pervade: advancements in scientific understandings of the universe and biological life\, evolving social justice issues resulting from the major political developments of the time\, a preoccupation with the visual effects of repetition and formal rhythm\, and an insistence on interpretive subjectivism. Spanning the second half of the twentieth century through the present—beginning with a Kusama net drawing dating to 1953 and ending with a text-based Bauermeister work created in 2019—Alternative Worlds converges a multitude of perceptual possibilities at once aggregate and open-ended. \n“Worldscapes” is a term Lee Bontecou coined in the early 1960s to describe the variegated forms she perceived in the matte black swathes of soot that became an important compositional feature of her artworks. Though the term belongs to Bontecou\, it is an apt descriptor for all works on view in Alternative Worlds\, as each artist sought to convey a unique\, imagined field of vision formally or conceptually grounded in the stylistic language each developed throughout her career. While Bontecou is most known for her innovative abstract wall relief assemblages featuring a central void\, the selection on view emphasizes the artist’s career-spanning interest in environmentalism and social justice: a series of drawings featuring sharp-edged botanical subjects coalesce into scenes of ecological disaster and a group of works featuring horizontal stripes and bandsaw blades resembling gritted teeth evoke themes of imprisonment and despair (Bontecou’s Greenwich Village studio was a few blocks from a women’s prison). \nThemes of institutionalization and containment are likewise apparent in the works of Yayoi Kusama\, whose skeins of biomorphic forms simultaneously appear hemmed in and endless. Repetitive patterns of nets\, dots\, and cellular forms define the artist’s allover aesthetic\, an impulse she has harnessed as both an artistic practice and a therapeutic approach to alleviating symptoms of her atypical psychology. Kusama’s ongoing desire to convey an infinitesimally detailed yet vision-encompassing experience is manifested in the works on view in Alternative Worlds\, where the evolution of her obsessive patterning prompts the viewer to delve into the realm of the artist’s endless imagination. \nA similar engagement with nature is apparent in the work of Alma Thomas\, whose scintillating abstract paintings embody the artist’s appreciation for the interplay of botanical hues and organic patterns observable in the verdant flora of Washington\, D.C.\, where she lived for most of her adult life. In her iconic work from the 1960s\, rhythmic daubs of color arranged in vertical stripes are often set against a painted ground. These vibrant compositions consist of small strokes of paint\, applied like musical staccato notes to manifest an improvisational\, jazz-like rhythm. Thomas executed numerous paintings inspired by rays of sunshine illuminating and passing through leaves and blossoms. “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.” \nThe effects of light and its refraction were also a key source of inspiration for Mary Bauermeister\, whose lens boxes serve as receptacles for the artist’s thoughts and ideas. Dubbed “the mother of Fluxus\,” Bauermeister’s long and multidisciplinary career is united by an approach to art making that relies on the participation of the viewer and a predilection for found objects. Both her assemblage works and text-based drawings contain visual\, linguistic and philosophical paradoxes that require an active observation\, conjuring a space where the viewer is challenged to contemplate their perception of art and the world around them. \nThe cosmic relationship between inner and outer realms is also a prevailing concern in the works of Claire Falkenstein\, whose stylistic vocabulary recursively explores the formal qualities of positive and negative spaces. Primary among the works on view are examples of the artist’s Sun and Fusion series\, created in the middle decades of the 20th century\, which feature structures of interlacing\, calligraphic and curvilinear forms composed of welded metal and glass. The formal tropes of Falkenstein’s sculptures are reflected in a series of works on paper she referred to as her Moving Point drawings\, whose compositions extend the dynamic play of forms observable in her three-dimensional works; comprising single points of varying size and proximity\, each drawing was designed to evoke the impression of movement in space. \nThrough the careful composition of richly detailed visual fields\, Bauermeister\, Bontecou\, Falkenstein\, Kusama\, and Thomas construct artworks that are simultaneously holistic and integrated within the viewer’s own physical and visual space. Although these artists worked within distinct geographic and social scenes\, formal harmonies abound when viewing their work in direct juxtaposition. Yet more revelatory is the affinity of conceptual frameworks each engaged to describe the vision they wished to impart through their work. At a time when exponentially accelerating ecological change further amplifies the threat of environmental collapse\, advancements in space exploration render the colonization of new worlds ever more possible\, and the explosion of readily accessible digital spaces allow the previously imperceivable experiences of the disenfranchised to circulate in the public eye\, the works on view in Alternative Worlds provide space to observe\, dwell\, and imagine visionary realms both fraught and serene. \nTo learn more about Alternative Worlds and to view the exhibition checklist\, click here. \n\nMichael Rosenfeld Gallery\nEstablished in 1989 by Michael Rosenfeld\, the gallery opened its doors to promote the breadth of American art and those artists—known or unknown—that contributed to the establishment of surrealism\, social realism\, abstract expressionism\, figurative expressionism and geometric abstraction. Michael Rosenfeld Gallery is located at 100 Eleventh Avenue\, New York\, NY\, 10011. Gallery hours are Tuesday through Saturday\, 10AM–6PM. The gallery will be closed in observance of Independence Day from July 3 through July 5\, after which the gallery will be open Monday through Friday\, 10AM–6PM. \nPress Inquiries\nDan Munn\, Director of Communications\npress@michaelrosenfeld.com\, 212.247.0082 \n[1] Claire Falkenstein\, “Statement by the Artist\,” from Claire Falkenstein\, exhibition catalogue (Fresno: Fresno Arts Center\, 1969)\, n.p.
URL:https://artinamericaguide.com/event/alternative-worlds-mary-bauermeister-lee-bontecou-claire-falkenstein-yayoi-kusama-alma-thomas/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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SUMMARY:Distinctive/Instinctive: Postwar Abstract Painting
DESCRIPTION:Featuring Charles Alston\, William Baziotes\, Norman Bluhm\, James Brooks\, Elaine de Kooning\, Jay DeFeo\, Beauford Delaney\, Claire Falkenstein\, Sam Gilliam\, Michael Goldberg\, Adolph Gottlieb\, Hans Hofmann\, Alfred Jensen\, Yayoi Kusama\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Joan Mitchell\, Alfonso Ossorio\, Richard Pousette-Dart\, Milton Resnick\, Alma Thomas\, Mark Tobey\, Jack Tworkov\, Charmion von Wiegand\, William T. Williams and Hale Woodruff. \nTo schedule your visit\, click here.
URL:https://artinamericaguide.com/event/distinctive-instinctive-postwar-abstract-painting/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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SUMMARY:Hannelore Baron: Collages
DESCRIPTION:To download the online exhibition catalogue\, click here. \n“Everything I’ve done is a statement on the\, as they say\, human condition\, and so on.  The way other people marched to Washington\, or set themselves on fire\, or write protest letters\, or go to assassinate someone\, well I’ve had all the same feelings that these people have had about various things and my way out\, because of my inability to do anything else for various reasons\, has been to make the protest through my artwork hoping that it will reach the same ends.  And it probably will have the same effect which means nothing at all. \nBut it clears my conscience.  I feel that as long as I know all the things that have happened and are happening (which) I consider totally terrible\, I feel that if I keep silent I am part of this terribleness and if I make a statement I’ve done my share.  And that’s why I’m doing them.” [1] —Hannelore Baron\, 1981 \nMichael Rosenfeld Gallery is pleased to present Hannelore Baron: Collages\, a solo exhibition dedicated to the collage work of Hannelore Baron (1926-1987). This exhibition\, scheduled to be on view from January 16 to February 20\, features twenty intimate and meticulously-composed collages from the 1980s. In her collage work that masterfully combines experimental printmaking techniques with found materials\, Baron condensed a wide range of influences and an expansive concern for the human condition into intimately-scaled expressions of thought and feeling. She wrote of her work: “The thoughts and feelings that underlie the collages are those of concern with the social issues and problems of the century\, as well as the precariousness of existence at any time.” [2] \nInspired by ancient art\, texts and textiles\, religious iconography\, and the disciplines of anthropology and archeology\, among other influences\, Baron created an impressive and prolific body of work in collage. She was drawn to the medium\, using a wide range of materials\, because she enjoyed “the fact that there is the use of actual material that combines to form an image. It is not a painting showing torn cloth and paper\, but the very cloth and paper itself.” She used carefully gathered collage materials to create her deeply personal compositions\, drawn to the look and feel of used fabrics. She explained: “The reason I use old cloth…is that the new material lacks the sentiment of the old\, and seems too dry and hard in an emotional sense.” She further expressed that “the collages are spotted\, scribbled and torn\, and made of paper and frayed cloth pieces that become ever more worn and precious in a process of recycling where eventually they form a new and complete expression.” \nBaron felt that the deliberate use of found materials created a “spontaneous but preserved and cared-for work.” She also incorporated printmaking techniques\, including monotypes made with cut-out forms inspired by prehistoric art\, that appealed to her for their unpredictable results. Many of the collages feature embellishments of an almost archaic form of pictographic writing which Baron deliberately meant to be ambiguous: “it can represent all that was ever written or just be seen as scratches that mark the otherwise pristine surface of the paper to make it more acceptable to me.” As a commentary on the universal meaning of language\, Baron further explained of this element in the collages: “The writing that covers much of the surface is deliberately illegible because it represents all the words that have been written to tell the unimaginable and explain the unexplainable. The writing also commemorates all that has passed and not been noted\, though basically\, in my opinion\, none of it matters very much since all has remained more or less the same\, despite the many meaningful words scattered all about is.” \nHannelore Baron: Collages is accompanied by a fully-illustrated online catalogue\, featuring a 1981 interview conducted between Hannelore Baron and her son\, Mark Baron. This interview is one of several discussions the two had together that illuminate key components of Baron’s practice in collage and assemblage. Reflecting on this interview experience with his mother\, Mark Baron recently stated: “I recorded these interviews with my mother in 1981. Though casual as could be (with one recorded in my very noisy Volkswagen\, on the way to a flea-market)\, I believed recording her thoughts\, about her art and her life\, was important. Honesty and openness were her norm. I’m happy that\, after forty years\, this interview is being published for the first time.” \nAbout the Artist\nHannelore Baron (1926-1987) is celebrated for her intimate collages and assemblages that\, as Michael Brenson wrote in a 1989 New York Times review\, “suggest both the condition of entrapment and the possibility of release.”[3] The compassion\, anger\, dissent\, humor\, and silence that animate her work hint at her traumatic experiences as a child in Nazi Germany. However\, she was often reluctant to discuss this part of her life out of concern that it would limit interpretations of her artwork. Influenced by ancient religious texts\, Egyptian art\, Coptic textiles\, Persian miniatures\, botanical prints\, and archeological finds\, Baron was concerned about the human condition\, including her own — and she stated\, “I am a total contradiction.” [4] \nBaron was born Hannelore Alexander in 1926\, in the small German town of Dillingen\, not far from the French border. She experienced a childhood fractured by violence and displacement. In 1941\, the United States consulate granted the Alexander family an emigration quota number\, and they were able to make their way to New York. Shortly upon her arrival\, Baron enrolled in the Straubenmuller Textile High School in Manhattan. Although she did not study art formally after high school\, her acquaintance with John Heliker\, who taught painting at Columbia University\, enabled Baron to bring her artwork to him for regular critiques. In 1947\, she met bookseller Herman Baron; they married in 1950 and had two children\, Julie and Mark. \nIn the late 1950s\, Baron started to incorporate collage elements into her painting\, and her work was exhibited at various venues in New York. A member of the National Association of Women Artists\, she began making assemblages from found wood\, driftwood\, and wire in 1968\, when a volunteer teaching position at the Yonkers Jewish Community Center gave her access to woodworking tools. The following year\, she had a solo exhibition at Ulster County Community College in Stone Ridge\, New York\, and she became the director of the short-lived Tyndall Creek Gallery in Riverdale. She continued to explore new ways of combining media in the 1970s; Baron developed a sculptural technique for making monotypes by shaping copper into cut-out forms (i.e. heads\, figures\, birds) and then inking both sides to result in mirror image printing. She also employed a “transfer drawing” technique that was popularized in the 1920s by Paul Klee. In Baron’s hands\, “mixed-media” meant more than the convergence of a variety of materials and approaches in a given work. She had a singular capacity for drawing out the visual\, textural\, and conceptual continuities among her elements. In her work\, a family resemblance is visible among wood and paper\, paper and textile\, wood and cloth. \nBaron understood her art as a form of political expression\, and this aspect became more explicit in the 1970s with several series that incorporated motifs of torn flags\, war-time letters\, children’s games\, and anti-war protests. After several exhibitions at Kathryn Markel Gallery\, Gallery Schlesinger-Boisanté (New York) organized its first solo exhibition for Baron in 1981 and\, a year later\, arranged an exhibition of her work in her childhood town of Dillingen. The gallery would go on to represent and consistently exhibit her work throughout the decade. \nIn 1987\, Baron\, who had battled several types of cancer in her lifetime\, died at the age of 60. Her early experiences of terror and persecution had continued to torment her as an adult in the form of depression and claustrophobia\, but they also informed her concern for the disempowered\, her mistrust of nationalism\, and her fierce criticisms of war and environmental destruction. Translating her political beliefs into abstract forms\, Baron created “an art of concealment and protection\,” one that remains as poignant and necessary today as it was in the late twentieth century. \nCommercial solo exhibitions have been presented consistently since 1969 with her first major museum survey in 1989 at the Solomon R. Guggenheim Museum. In 2002\, Hannelore Baron: Works from 1969 to 1987 traveled to eight national venues; curated by Ingrid Schaffner for SITES (Smithsonian Institution Traveling Exhibition Services)\, the exhibition was accompanied by a fully-illustrated catalogue. That same year\, the Art Museum at the University of Memphis presented Hannelore Baron: Fragments Shored Against Ruins. \nOver the decades\, Baron’s work has been contextualized in groundbreaking museum exhibitions including The Poetic Object (San Antonio Museum of Art\, San Antonio\, TX\, 1988); Deep Storage: Collecting\, Storing\, and Archiving Art (Haus der Kunst\, Munich\, Germany\, 1997); Six Centuries of Prints and Drawings (National Gallery of Art\, Washington\, DC\, 2004); The Keeper (New Museum\, New York\, NY\, 2016); The Warmth of Other Suns (The Phillips Collection\, Washington\, DC\, 2019; curated by Massimiliano Gioni and Natalie Bell and organized by the New Museum); and “Good Artists\,” curated by Jenny Holzer for Artistic License: Six Takes on the Guggenheim Collection (Solomon R. Guggenheim Museum\, New York\, NY\, 2019). In 2020\, she was featured in Women to the Fore at the Hudson River Museum (Yonkers\, NY) and Out of Place: A Feminist Look at the Collection at the Brooklyn Museum (Brooklyn\, NY). Baron’s work has also been included in a number of recent group exhibitions at Michael Rosenfeld Gallery\, including Collage: Made in America (2017)\, The Time Is N♀w (2017)\, Art of Defiance: Radical Materials (2019) and Paper Power (2020). Upcoming in February 2021\, Baron’s work will be on view in Portable Sculpture at the Henry Moore Institute in Leeds\, UK. \nBaron’s work is represented internationally in over thirty public collections that include the Albright-Knox Art Gallery (Buffalo\, NY); Art Institute of Chicago (IL); Brooklyn Museum (NY); Solomon R. Guggenheim Museum (New York\, NY); Israel Museum (Jerusalem); Los Angeles County Museum of Art (CA); The Museum of Modern Art (New York\, NY); Museum of Fine Arts\, Boston (MA); National Gallery of Art (Washington\, DC); San Francisco Museum of Modern Art (CA); Smithsonian American Art Museum (Washington\, DC); and Whitney Museum of American Art (New York\, NY). \nMichael Rosenfeld Gallery is the exclusive representative of the Estate of Hannelore Baron. \nMore information on Hannelore Baron (1926-1987). \nTo view the online exhibition catalogue\, click here. \nTo schedule an appointment to view the exhibition at the gallery\, click here. \n[1] Hannelore Baron\, interview with Mark Baron\, 1981\, transcript\, Estate of Hannelore Baron\, New York\, NY.\n[2] Hannelore Baron\, artist statement\, n.d.\, Estate of Hannelore Baron\, New York\, NY. All subsequent quotes by the artist are taken from this text\, unless otherwise indicated.\n[3] Michael Brenson\, “Pieced-Together History: Hannelore Baron’s Collage\,” The New York Times\, June 2\, 1989.\n[4] Baron\, interview.
URL:https://artinamericaguide.com/event/hannelore-baron-collages-january-16-february-20-2021/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20201031
DTEND;VALUE=DATE:20201201
DTSTAMP:20260613T235340
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SUMMARY:Facing Self: The Artist Revealed
DESCRIPTION:To view the online exhibition\, click here.“I felt that if the themes in my early paintings\, those very specific psychological concerns\, were as significant as I thought they were\, then I had a rationale for figurative painting. That was a time when a figure painter needed a justification for not doing Abstract Expressionism… Abstraction symbolized immediate experience for the Abstract Expressionists. It did just the opposite for me. Since I was so obsessed with myself\, so troubled by my relation to the world that seemed vague or even chaotic\, it was natural that so-called figurative style – a style that could give me an image of myself – would seem more immediate. An abstract style suggested a world more distant\, a world I wanted to reach. . . Say you draw a picture of your own face. It takes an enormous amount of abstract thinking to get your hand to do what you want it to do. And the result is a visual abstraction made from the tangible reality of your face. So there is a great deal of abstraction involved in that self-image. It’s the same with any image an artist makes. They are all abstraction from the self. They all reflect that artist’s sense of self. All art is figurative\, in a certain way. . . But every figure of the self is a disguise. Everything humans make is an attempt to make a mirror. The face in a painting is a mask. It covers a reality that is ultimately ungraspable. . . Despite this ideal of complete integrity\, of art absolutely at one with itself\, my earliest paintings show that I was satisfied only when I could see a kaleidoscope of possibilities. That’s why I could never keep abstraction out of my figurative work.”\n—Pat Steir\, quoted in Carter Ratcliff\, Pat Steir Paintings (New York\, NY: Harry N. Abrams\, Inc.\, 1986)\, 10. \nThe artist – as sole creator – determines how they will be seen\, viewed and remembered through self-portraiture. Consciously or not\, as Alfonso Ossorio declared\, “Every artist projects a philosophy in everything he does.” [1] By carving out their own sense of identity with a language and style uniquely their own\, they determine what that framework will be and how it will be used to communicate how they want to be seen\, viewed and remembered. Whether through abstraction – using light\, color\, texture and emphatic brushwork – or employing a more figurative\, representational mode – self-portrayal is a unique and singular expression that tells a complete story of the artist and their intentions. \nFully in control\, artists also determine the lens through which they will be seen – whether with critical introspection\, wit and humor or cool detachment. Artists choose their style\, palette\, setting\, emotional state\, pose and accoutrements to symbolic effect – ones that describe\, enhance or aggrandize their sense of self for themselves and for the world at large. The artist chooses what to reveal and what to leave\, instead\, to the imagination. They include objects or companions in order to express what is important to them as a record of time. Sometimes the moment represents a very finite time in a very specific place and thus\, we could watch the artist grow if we wanted to\, observing the toll of age over the years as life continued onward. Other times\, this moment of being is one that is projected or imagined\, one that transcends time and place – a version of the artist in a space that is not so readily recognizable and familiar. \n\nBy conveying their own vision of themselves\, artists affirm their sense of personhood as well as artisthood. The artist juggles a dual identity – of both person and artist – while also shaping how they are being viewed and remembered as they cement their legacy for themselves and others. Together with\, and in addition to\, this duality\, artists also use self-portraiture as a vehicle for self-exploration as a way to simultaneously distance or bridge self from “other” – real from artificial – thereby further compounding the notion of identity. In so doing\, they adapt and employ their form to take on different roles\, like an actor. Robert Arneson\, known for his many daring experiments in self-portraiture\, explained: “You’re modeling in the most traditional manner. So you use yourself\, but this self is not the inner self. You end up acting\, becoming someone else although you use your own features.”[2] Like Pat Steir\, he noted\, “I never did a self-portrait. I always use a self-portrait as a mask.”[3]Self-portraiture has evolved throughout art history thanks to the advent of photography and technological advancements. There are more ways of seeing\, reflecting and projecting back to ourselves and the viewer than just the mirror. Through cellular phones and the ubiquitous proliferation of selfies\, the camera has dramatically influenced where\, when and how we depict ourselves. During times of critical introspection – as an individual and as a collective whole – we all want to be seen and heard. In contemplative\, poignant and penetrating self- portraits Benny Andrews\, Robert Arneson\, Aaron Berkman\, Willem de Kooning\, Beauford Delaney\, Nancy Grossman\, Leon Kelly\, Franz Kline\, Boris Margo\, Alfonso Ossorio\, Theodore Roszak\, Raphael Soyer\, Pat Steir\, Louis Stone and Bob Thompson immortalize themselves. Their depictions remind us to look at ourselves\, to recognize who we are\, and to give us direction when the path ahead doesn’t always seem clear. Now\, more than ever\, our voice and our vision matters. \n[1] Alfonso Ossorio\, in Forrest Selvig\, “Oral history interview with Alfonso Ossorio\,” November 19\, 1968\, transcript\, Archives of American Art\, Smithsonian Institution\, http://www.aaa.si.edu/collections/ oralhistories/transcripts/ossori68.htm.\n[2] Robert Arneson\, quoted in Jonathan Fineberg\, A Troublesome Subject: The Art of Robert Arneson (Berkeley: University of California Press\, 2013)\, 13.\n[3] Arneson\, quoted in Fineberg\, 98.
URL:https://artinamericaguide.com/event/facing-self-the-artist-revealed/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200926
DTEND;VALUE=DATE:20210124
DTSTAMP:20260613T235340
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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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DTSTART;VALUE=DATE:20200204
DTEND;VALUE=DATE:20200715
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SUMMARY:Paper Power
DESCRIPTION:Cut\, Crumpled\, Drawn\, Torn\, Glued\, Layered\, Painted\, Folded\, Saturated\, Creased\, Stained\, Dyed\, Scratched\, Erased\, Scrubbed\, Printed\, Stamped\, Peeled… Exploring the Materiality of Paper
URL:https://artinamericaguide.com/event/paper-power/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
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DTSTART;TZID=America/Halifax:20191121T100000
DTEND;TZID=America/Halifax:20200125T180000
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SUMMARY:Globalism Pops BACK Into View: The Rise of Abstract Expressionism
DESCRIPTION:“Now that America is recognized as the center where art and artists of all the world must meet\, it is time for us to accept cultural values on a truly global plane.”[i]\n—Federation of Modern Painters and Sculptors\, New York\, 1940 \n“All genuine art forms utilize images that can be readily apprehended by anyone acquainted with the global language of art. That is why we use images that are directly communicable to all who accept art as the language of the spirit\, but which appear as private symbols to those who wish to be provided with information or commentary.”[ii]\n—Adolph Gottlieb\, 1943 \nMichael Rosenfeld Gallery is pleased to present Globalism Pops BACK Into View: The Rise of Abstract Expressionism. The exhibition\, scheduled to be on view from November 21\, 2019 to January 25\, 2020\, will feature a selection of paintings and sculpture by the modernist artists who converged in New York City in the early 1940s and embraced artistic and political globalism. Globalism Pops BACK Into View was inspired by a series of critical articles published in The New York Times in June 1943 that used the term “globalism” for the first time to underscore the views of these artists. The exhibition contextualizes a world-altering time when New York became the center of contemporary art—a time made particularly pertinent again by the isolationist and nationalist views that have now come to the fore in the political and social world of the early twenty-first century. \nThe exhibition will include works by Charles Alston\, William Baziotes\, Romare Bearden\, Harold Cousins\, Dorothy Dehner\, Jimmy Ernst\, Claire Falkenstein\, Herbert Ferber\, Michael Goldberg\, Arshile Gorky\, Adolph Gottlieb\, David Hare\, Hans Hofmann\, Richard Hunt\, Gerome Kamrowski\, Lee Krasner\, Ibram Lassaw\, Norman Lewis\, Seymour Lipton\, Boris Margo\, Roberto Matta\, Gordon Onslow Ford\, Alfonso Ossorio\, Jackson Pollock\, Richard Pousette-Dart\, Theodore Roszak\, Mark Rothko\, Charles Seliger\, Janet Sobel\, Theodoros Stamos\, Bradley Walker Tomlin\, Laurence Vail and Hale Woodruff. \n“‘Globalism’ Pops into View” is the title of an article by conservative critic Edward Alden Jewell that was published in The New York Times on June 13\, 1943. Jewell linked globalism to a group of modernists exhibiting in New York while denigrating their work. Among them were artists later called abstract expressionists\, who were already expressing their intention to create their own personal and distinctive visual vocabularies\, using the language of abstraction\, to communicate global symbols that reach for universal meaning to viewers throughout the world. Among the major sources of their work is the Jungian belief of myth as archetype\, symbolic of the universal unconscious\, as well as cubist structure and the surrealist method of psychic automatism. \nJewell was responding to work by artists\, particularly Gottlieb and Rothko\, who participated in the Third Annual Exhibition of the Federation of Modern Painters and Sculptors. The progressive collective wrote: “We condemn artistic nationalism which negates the world tradition of art at the base of modern art movements…Since no one can remain untouched by the impact of the present world upheaval\, it is inevitable that values in every field of human endeavor will be affected. As a nation we are being forced to outgrow our narrow political isolationism. Now that America is recognized as the center where art and artists of all the world must meet\, it is time for us to accept cultural values on a truly global plane.”[iii] \nThe artistic community of early 1940s New York was outspoken in its rejection of political and artistic isolationism\, turning instead to abstraction. Artist Barnett Newman was one of the most prolific critics of regionalism and in his 1942 essay “What About Isolationist Art?” he railed against the regionalists as “enemies of world progress” and predicted the rise of such anti-globalists again in the future. In general\, the modernists were spurred by the 1943 publication of the best-selling book One World by Wendell Willkie. They were also encouraged by their own camaraderie and by the many modernist exhibitions in New York\, held at the Museum of Modern Art and at several galleries\, including Peggy Guggenheim’s Art of This Century and the Betty Parsons Gallery. Their development was also greatly advanced by the many leading European modernist artists who came to New York City to escape the War. In addition\, their art was shaped by their knowledge of a varied combination of international sources in a number of fields outside modernist art\, including philosophy and psychology; myth\, particularly through the ideas of Carl Jung and Friedrich Nietzsche; tribal art and culture; poetry\, especially the French symbolists; Chinese and Japanese art and ideas; the natural sciences; and more. The synthesis of all these connections stimulated their search for significant content with global relevance—and made it possible. \nOn June 2\, 1943\, Jewell delivered his review of the federation’s exhibition\, in which he expressed perplexity\, particularly regarding paintings on view by Rothko and Gottlieb. The two artists had\, in turn\, issued a statement in response to Jewell\, asserting that\, while “no possible set of notes” could explain their work\, “There is no such thing as good painting about nothing…The subject is crucial and only that subject-matter is valid which is tragic and timeless.”[iv] In his article “‘Globalism’ Pops into View\,” Jewell opined that “So far Globalism seems to guarantee a rather bleak and cheerless future” and yet at the same time recommended that Rothko and Gottlieb’s statement “best not be picked to pieces\, especially by the simple-minded\, for it might explode\,” concluding “I intend to stick to Globalism\, for the time being at least\, let the chips fall where they may.”[v] \nThe term globalism is used to describe “attempts to understand all the interconnections of the modern world—and to highlight patterns that underlie (and explain) them.”[vi] The current art world has emphasized internationalism\, stressing consideration of art from diverse countries. Conversely\, more than 75 years ago\, when the art world was so much smaller and the city of New York was at its center\, the global reach of the American artists who congregated there was crucial for the development of their ideas and resulting art. \nGlobalism Pops BACK Into View: The Rise of Abstract Expressionism was conceived by art historian Barbara Cavaliere\, who will contribute new scholarship to a fully-illustrated color catalogue. This exhibition represents an interest that Michael Rosenfeld Gallery has explored in numerous exhibitions over its thirty-year history\, championing the work of many of the artists on view. Michael Rosenfeld states: “Abstract expressionism of the 1940s was my entry point into American art and remains a personal passion of mine. I am grateful to Barbara Cavaliere for sharing her expertise and insight into this integral period in the narrative of abstract expressionism.” \nBarbara Cavaliere is an art historian\, critic\, and writer whose special interest has been abstract expressionism since she studied with Lawrence Alloway in the early 1970s. In 1975\, Cavaliere co-curated Subjects of the Artist: New York Painting\, 1941-1947 at the Whitney Museum of American Art downtown branch with Robert Hobbs and others. Cavaliere’s friendships with many of the New York-based artists of the time has given her firsthand knowledge and understanding of them\, and she has published numerous catalogues\, articles and reviews about them. In addition\, for the past four decades\, Cavaliere has been editing art books and writing audio guides for many museums\, the majority for The Metropolitan Museum of Art. Throughout her career\, she has sustained her special fascination with and study of 1940s abstract expressionism and its context. \nMichael Rosenfeld Gallery\nMichael Rosenfeld Gallery is recognized for modern & contemporary art. Established in 1989 by Michael Rosenfeld\, the gallery opened its doors to promote the breadth of American art and those artists—known or unknown—that contributed to the establishment of surrealism\, social realism\, abstract expressionism\, figurative expressionism and geometric abstraction. Michael Rosenfeld Gallery is located at 100 Eleventh Avenue\, New York\, NY\, 10011. Gallery hours are Tuesday through Saturday\, 10:00 AM–6:00 PM. \nPress Inquiries\nDan Munn\, Communications Associate\ndm@michaelrosenfeldart.com\, 212.247.0082 \n  \n[i] Catalogue for The Federation of Modern Painters and Sculptors Inc.\, Third Annual Exhibition\, Wildenstein Gallery\, New York\, NY\, June 3-26\, 1943.\n[ii] Adolph Gottlieb\, from from “The Portrait and the Modern Artist: Adolph Gottlieb and Mark Rothko appear on WNYC radio\,” October 13\, 1943.\n[iii] Catalogue for The Federation of Modern Painters and Sculptors Inc.\, Third Annual Exhibition\, Wildenstein Gallery\, New York\, NY\, June 3-26\, 1943.\n[iv] Adolph Gottlieb and Mark Rothko\, letter to Edward Alden Jewell; reproduced in Edward Alden Jewell\, “‘Globalism’ Pops Into View: Puzzling Pictures in the Show by the Federation of Modern Painters and Sculptors Exemplify the Artists’ Approach\,” The New York Times\, June 13\, 1943\, X9.\n[v] Jewell\, “‘Globalism’ Pops Into View.”\n[vi] Joseph Nye\, “Globalism Versus Globalization\,” The Globalist\, April 15\, 2002\, https://www.theglobalist.com/globalism-versus-globalization/\, accessed November 2019.
URL:https://artinamericaguide.com/event/globalism-pops-back-into-view-the-rise-of-abstract-expressionism/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
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DTSTART;VALUE=DATE:20190906
DTEND;VALUE=DATE:20191117
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SUMMARY:William T. Williams: Recent Paintings
DESCRIPTION:Opening Reception\nThursday\, September 5\, 2019 / 6–8PM \nMichael Rosenfeld Gallery is pleased to present its fourth solo exhibition for William T. Williams (American\, b. 1942)\, showcasing a new body of paintings. Scheduled to be on view from September 6 to November 9\, 2019\, William T. Williams: Recent Paintings will feature 35 paintings from the 465 Series\, the first series of paintings completed by Williams in his rural Connecticut studio. A masterful colorist\, his new work continues to expand our understanding of abstraction and positions Williams as one of the great abstractionists of his generation. \nWilliam T. Williams: Recent Paintings will be accompanied by a fully-illustrated color catalogue with new scholarship by Jonathan P. Binstock\, Mary W. and Donald R. Clark Director of the Memorial Art Gallery (MAG)\, Rochester\, NY and an interview conducted by Hans Ulrich Obrist\, Artistic Director at Serpentine Galleries\, London. \nThe work of William T. Williams resonates with cultural history and personal memories of a childhood spent in the urban environments of New York as well as the southern landscapes of rural North Carolina\, where he was born. Returning to country life\, the artist’s recent relocation of his studio from New York City to the natural environment of Connecticut embodies a renewed vision toward painting. There\, he has reinvented his studio practice in a soaring\, light-filled\, renovated barn\, replete with large windows that overlook an ever-changing landscape. William T. Williams: Recent Paintings will be the first exhibition of the new body of work produced under the natural light and rhythms of Williams’ new studio. This environment\, immersed in nature\, has had a profound effect on the artist’s recent work\, whose richly-hued abstractions reflect the shifting dynamics of seasonal and atmospheric change. \nThe dynamism of these natural ebbs and flows permeates Williams’ paintings\, creating discernible shifts felt palpably through composition and color. The complex palettes of this life-long colorist will be showcased\, from the vibrant and bold to the muted and somber. Working at a smaller\, more intimate scale than ever before\, Williams has experimented with the combination of multiple canvases. The seriality of the paintings offers a meditative form of time-keeping\, a cyclical repetition that structures and documents his daily routine in the studio. Their multi-color grid compositions of layered paint recall the quilts that were prominent in the Williams’ household. This modular approach of “patch-working” individual panels together employs varying configurations of contrasting forms and colors to generate dialogues within each work. \nThe work of William T. Williams is deeply influenced and inspired by jazz\, and the artist has referred to his method of working through distinct series as that of a “theme and variations.” On the occasion of William T. Williams: Recent Paintings\, the artist has developed a jazz playlist of 30 favorites. The playlist includes iconic tracks that are in frequent rotation in the artist’s studio by jazz legends such as John Coltrane and Miles Davis and contemporary musicians and composers like Jason Moran\, Ron Carter\, Karen Patterson and Wynton Marsalis. Williams observed recently\, “I start out every day with Coleman Hawkins\, because that brings me back to a specific time\, and there’s a tone that he has in his music that I really love… When I’m working\, I listen to different musicians for different things… Each musician brings different nuances to the environment which affects my own thinking. Music is a constant in my studio.” \nThe 465 Series extends on the techniques and formats explored in the 111 ½ Series\, which Williams has described as a record of “place as a specific type of poetry.” Similarly bearing reference to the artist’s address\, this new series continues the artist’s consistent exploration of tactility\, gesture\, color and mark-making. The paintings’ titles include personal and autobiographical references that reflect on a composite of experiences and memories from throughout his life. Together\, they illuminate how abstraction became the mode through which Williams felt free to explore both representational and symbolic imagery in his work. \nAbout William T. Williams\nThe work of William T. Williams (b. 1942) ranges in style from his early geometric abstractions\, to almost-monochromatic explorations of texture\, to an abstraction that derives its force from productive tension among colors and forms. While he has consistently tested the limits of his earlier styles and developed new approaches\, his meticulous attention to the process of art making has remained constant. A master of brushwork and color\, Williams creates his paintings in series\, working through a labor-intensive process that often includes drawings\, watercolors and prints. \nFrom the outset of his career\, Williams’ art was characterized by bold color and daring compositions that paid homage to and challenged the abstraction that had come before it. He emerged at a time when abstract expressionism was in decline\, while pop art\, color field painting\, and minimalism were on the rise. Concurrent with this aesthetic transition were social and political transformations that saw artists\, intellectuals\, and activists challenging the exclusionary practices of New York’s white- and male-dominated art institutions. These critiques came in multiple forms\, including an approach to art that favored figural representation embedded in a politics of struggle and an assertion of identities misrepresented by or excluded from American culture. Such images were a necessary correction to a history of omission and caricature\, but they risked being received by the art establishment in a way that affirmed its tendency to ignore work by abstract artists who were also African American. \nLiving in an artist loft building on Broadway that over the years included neighbors Kenneth Noland\, Joel Shapiro\, Janet Fish\, and William Copley\, Williams believed that abstraction offered him greater creative and expressive freedom than figural representation\, but he was also wary of the potential cold\, impersonal aspect of painting that was merely about painting. Williams thus developed an approach that rendered the abstract representational\, not only through titles replete with autobiographical references\, but also in the shapes he incorporates. Jazz became an important site of convergence where memory\, history\, and a black American abstract tradition met\, and quilting was for Williams another manifestation of an African American tradition of abstraction. His artwork often incorporates the diamond shape as a visual motif that functioned “as a stabilizing force\, a form that interacts compositionally with what’s around it. But it goes back to the quilts of my childhood\, the patterns and forms I grew up with.” \nThe synthesis between personal/cultural narrative and abstraction that Williams developed early on in his career was met with deserved success. Born in rural North Carolina\, Williams moved to New York with his family as a youth. He attended the School of Industrial Art (now the High School of Art and Design) and received an associate degree at New York Community College\, before enrolling at Pratt Institute in 1962. At Pratt\, he studied with some of the foremost figurative painters of the day including Richard Lindner\, Philip Pearlstein and Alex Katz\, but it was painter Richard Bove who encouraged Williams to work from intuition and memory rather than from observation. The resulting abstract work found support amongst his professors whose encouragement led Williams to pursue graduate studies at Yale University. The graduate department at Yale provided a rigorous theoretical foundation and studio practice for the artist as the faculty included George Wardlaw\, Jack Tworkov\, Al Held\, Lester Johnson\, and others. \nWilliams completed his MFA at Yale in 1968 and moved to New York. In 1969\, the Museum of Modern Art (MoMA) purchased his Elbert Jackson\, L.A.M.F. Part II (1969). That same year\, he was included in the Whitney Biennial and he organized X to the Fourth Power at the newly opened Studio Museum in Harlem. In 1968\, Williams formed the muralist collective Smokehouse Associates along with Mel Edwards\, Guy Ciarcia\, and Billy Rose; they were active in Harlem from 1968 to 1970. Williams conceptualized the artist-in-residence program at The Studio Museum\, which remains to this day a core mission objective and functions in its original iteration according to the guidelines that Williams instituted. In 1971\, Reese Palley Gallery\, New York mounted Williams’ first solo exhibition and he began teaching at Brooklyn College of the City University of New York (CUNY)\, where he was on faculty for four decades\, inspiring hundreds of students including Nari Ward and Arthur Simms. In 1965\, he spent a summer in Maine as a student at the Skowhegan School of Painting and Sculpture\, returning as faculty in 1971\, 1974\, 1978\, and 1979; the latter year he served as Director Pro Tem. In 1975\, Bob Blackburn invited Williams to make a print at the Printmaking Workshop; over the next 22 years\, Williams collaborated with Blackburn to produce 19 editions\, as well as a number of unique print projects. In keeping with this ongoing interest in printmaking\, Williams has also collaborated on prints with the Brandywine Workshop and Lafayette College’s Experimental Printmaking Institute (EPI). In 1977\, he participated in the Second World Festival of Black Art and African Culture (Festac ’77)\, held in Lagos\, Nigeria\, which marked his first time in Africa. The trip\, especially the movements of patterned clothing he saw on the street\, had a profound effect on his art\, and Williams began a series of paintings inspired by this African tradition of abstraction. Williams has continued to revise\, adapt\, and transform his style\, and this dynamism combined with a consistent set of formal and thematic concerns has contributed to the longevity of his luminous career. \nWilliams has been the recipient of numerous awards and fellowships\, including: the Individual Artist Award in Painting from the National Endowment for the Arts (1970)\, a John Simon Guggenheim Fellowship (1986)\, The Studio Museum in Harlem Artist’s Award (1992)\, a National Endowment for the Arts Regional Fellowship (1994)\, a Joan Mitchell Foundation Grant (1996)\, the Brandywine Workshop’s James Van Der Zee Award for lifetime achievement in the arts (2005)\, the North Carolina Governors Award for the Fine Arts (2006)\, the Alain Locke International Award from the Detroit Institute of Arts (2011)\, and the Skowhegan Governors Award for Outstanding Service to Artists from the Skowhegan School of Painting & Sculpture (2017). Recently\, Williams was inducted into the newest class of National Academician members at the National Academy Museum & School in New York (2017) and he is the recipient of the 2018 Pratt Institute Legends Award and the 2019 Lifetime Achievement Award at the 30th Annual James A. Porter Colloquium\, Howard University\, Washington\, DC. Williams was also the first African American contemporary artist to have his work (Batman\, 1979) included in The History of Art by H.W. Janson. \nFor over forty years\, Williams’ work has consistently been shown at home and abroad. Representation in groundbreaking exhibitions includes L’Art Vivant Aux Etats-Unis (Fondation Maeght\, Saint-Paul-de-Vence\, France\, 1970); The Structure of Color (Whitney Museum of American Art\, 1971); To Conserve a Legacy: American Art from Historically Black Colleges and Universities (Addison Gallery of American Art\, 1999); What is Painting?  (MoMA\, 2007); Blues for Smoke (Museum of Contemporary Art\, LA\, 2012) and Witness: Art and Civil Rights in The Sixties (Brooklyn Museum\, 2014). In 2016\, he was featured in the inaugural exhibition at the Smithsonian Institution’s National Museum of African American Art and Culture (Washington\, DC) and in 2017\, his contributions as part of the mural collective Smokehouse Associates were examined in Smokehouse\, 1968-1970 at The Studio Museum in Harlem. \nRecent solo presentations of the artist’s work include William T. Williams: Theme and Variations at the Morris R. Williams Center for the Arts\, Lafayette College in Easton\, PA (2009) and William T. Williams: Variations on Themes at The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora\, University of Maryland in College Park (2010). In 2017\, Michael Rosenfeld Gallery presented its first solo exhibition for Williams\, William T. Williams: Things Unknown\, Paintings\, 1968-2017\, which celebrated five decades of work and featured an overview of the artist’s most major painting series. The exhibition was accompanied by a fully-illustrated catalogue with engaging conversations between the artist and Thelma Golden\, Director and Chief Curator of The Studio Museum in Harlem\, and Courtney J. Martin\, Deputy Director and Chief Curator at Dia Art Foundation. At Frieze New York this year\, Michael Rosenfeld Gallery presented William T. Williams: 1970\, an exhibition that focused on the pivotal year 1970 and highlighted a selection of seminal paintings and never-before-exhibited works on paper from the artist’s first mature series\, Diamond in a Box. \nWilliams is represented in over thirty public collections\, including the Detroit Institute of the Art (MI); Fogg Museum (Harvard Art Museums\, Cambridge\, MA); The Menil Collection (Houston\, TX); The Museum of Modern Art (New York\, NY); Nelson A. Rockefeller Empire State Collection (Albany\, NY);  North Carolina Museum of Art (Raleigh); Philadelphia Museum of Art (PA); Sheldon Museum of Art\, University of Nebraska (Lincoln); The Studio Museum in Harlem (New York\, NY); Whitney Museum of American Art (New York\, NY); and Yale University Art Gallery\, Yale University (New Haven\, CT). \nMore information on William T. Williams (b. 1942) \nThe work of William T. Williams can be seen in the following current and upcoming museum exhibitions: \nSoul of a Nation: Art in the Age of Black Power\, The Broad\, Los Angeles\, CA\, March 23–September 1\, 2019; de Young Museum\, Fine Arts Museums of San Francisco\, San Francisco\, CA\, November 9\, 2019–March 15\, 2020 \nBlack Refractions: Highlights from The Studio Museum in Harlem\, Kalamazoo Institute of Arts\, Kalamazoo\, MI\, September 13–December 8\, 2019 \nThe Shape of Abstraction: Selections from the Ollie Collection\, Saint Louis Art Museum\, St. Louis\, MO\, September 17\, 2019–March 8\, 2020 \nGenerations: A History of Black Abstract Art\, The Baltimore Museum of Art\, Baltimore\, MD\, September 29\, 2019–January 19\, 2020 \nWith Pleasure: Pattern and Decoration in American Art\, 1972-1985\, The Museum of Contemporary Art\, Los Angeles\, CA\, October 27\, 2019–May 11\, 2020 \nMichael Rosenfeld Gallery\nSince 2016\, Michael Rosenfeld Gallery has been the exclusive representative of William T. Williams. Michael Rosenfeld Gallery specializes in 20/21 century art. Established in 1989 by Michael Rosenfeld\, the gallery opened its doors to promote the breadth of American art and those artists—known or unknown—that contributed to the establishment of surrealism\, social realism\, abstract expressionism\, figurative expressionism and geometric abstraction. Michael Rosenfeld Gallery is located at 100 Eleventh Avenue\, New York\, NY\, 10011. Gallery hours are Tuesday through Saturday\, 10:00AM–6:00PM. \nPress Inquiries\nDan Munn\, Communications Associate\ndm@michaelrosenfeldart.com\, 212.247.0082
URL:https://artinamericaguide.com/event/william-t-williams-new-work/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20190803
DTSTAMP:20260613T235340
CREATED:20190523T155033Z
LAST-MODIFIED:20190618T141229Z
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SUMMARY:Spiritual by Nature
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present the group exhibition Spiritual by Nature\, featuring a selection of works by artists directly inspired by the natural world and informed by Eastern thought and spirituality. This exhibition will include the work of Ruth Asawa\, Mary Bauermeister\, William Baziotes\, Lee Bontecou\, Beauford Delaney\, Claire Falkenstein\, Alfred Jensen\, Norman Lewis\, Richard Pousette-Dart\, Theodore Roszak\, Charles Seliger\, Toshiko Takaezu\, Lenore Tawney\, Alma Thomas\, Mark Tobey and Charmion von Wiegand. Working across a range of media and drawing on personal aesthetic vocabularies\, these artists strove to find a universal language to express their singular visions of the world at large. Eight of the artists on view are currently represented in Artistic License: Six Takes on the Guggenheim Collection at the Solomon R. Guggenheim Museum\, New York\, NY. Artistic License is the first-ever artist-curated exhibition mounted at the Guggenheim and the inclusion of these artists is a testament to their continuing relevance and impact.
URL:https://artinamericaguide.com/event/spiritual-by-nature/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20190803
DTSTAMP:20260613T235340
CREATED:20190510T211635Z
LAST-MODIFIED:20190510T211635Z
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SUMMARY:Calix\, Cup\, Chalice\, Grail\, Urn\, Goblet: Presenting the Sexual Essence of Morris Graves
DESCRIPTION:Morris Graves (1910-2001)\, Ceremonial Bronze Taking the Form of a Bird (detail)\, 1947\, gouache and ink on paper\, 18″ x 23″\, signed
URL:https://artinamericaguide.com/event/calix-cup-chalice-grail-urn-goblet-presenting-the-sexual-essence-of-morris-graves/
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:20190521T180000
DTEND;TZID=America/Halifax:20190521T210000
DTSTAMP:20260613T235340
CREATED:20190510T211613Z
LAST-MODIFIED:20190510T211619Z
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SUMMARY:Simon Stockhausen: A Workshop Concert\, A Tribute to his mother Mary Bauermeister
DESCRIPTION:6 -7:00PM\nReception at Michael Rosenfeld Gallery\n100 Eleventh Avenue @ 19th Street\, New York City \n7:15PM\nPerformance at The Kitchen\n512 West 19 Street\, New York City \nSeating is limited. Please RSVP to rsvp@michaelrosenfeldart.com \nIn conjunction with the exhibition Mary Bauermeister: Live in Peace or Leave the Galaxy\, Michael Rosenfeld Gallery is pleased to present Simon Stockhausen: A Workshop Concert\, A Tribute to his mother Mary Bauermeister\, which will be held on Tuesday\, May 21\, 2019 at 7:15PM at The Kitchen. The interactive performance will be preceded by a reception at the gallery from 6:00-7:00PM. Stockhausen is a noted composer\, musician and sound designer with an interest in exploring uncharted sonic territory\, combining acoustic instruments and field recordings with electronic sounds and deriving sound and music from art works and images in general. Since 2016\, Stockhausen has collaborated with Bauermeister\, fusing his interests in music and art together. \nSimon Stockhausen (b.1967) commenced his musical education (piano\, saxophone\, drums\, synthesiser\, composition) at the age of five\, and began performing in his father Karlheinz Stockhausen’s works at the age of 12. After his final exams in 1986\, he started touring the world with the Stockhausen ensemble and also co-produced electronic music for two operas by his father. Simon’s collaboration with his brother Markus Stockhausen over the last 20 years in the field of jazz and improvised music has generated numerous CD releases —on record labels such as ECM\, EMI\, and LARGO— as well as soundtracks for film and theatre productions. \nSince the early 1990s\, Simon has composed music for various German chamber ensembles and in 2012 he staged his first large-scale orchestral work Doktrin der Ruhe\, commissioned by the Hamburger Symphoniker orchestra. Since 1998 he has written and arranged music for many German theatres\, and in 2003 began composing film-scores for documentary films and short movies including Disengagement (2007) and Trip to Asia (2008). \nIn 2009 Simon created patchpool.net\, where he publishes commercial sound libraries for software synthesisers\, effect plug-ins and samplers as well as sound files for post production and sound design. Since reuniting with his mother in 2016\, Simon has written several compositions for her exhibition openings and has also produced video animations of her artwork. \nImage: Simon Stockhausen in Cologne\, Germany\, 2019. Stockhausen performed with his mother in conjunction with the exhibition KÖLN 68! Protest. Pop. Provocation at Kölnisches Stadtmuseum.
URL:https://artinamericaguide.com/event/simon-stockhausen-a-workshop-concert-a-tribute-to-his-mother-mary-bauermeister/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190405
DTEND;VALUE=DATE:20190609
DTSTAMP:20260613T235340
CREATED:20190325T164030Z
LAST-MODIFIED:20190325T164030Z
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SUMMARY:Mary Bauermeister: Live in Peace or Leave the Galaxy
DESCRIPTION:A color catalogue will accompany the exhibition. Michael Rosenfeld Gallery is the exclusive representative of Mary Bauermeister (b.1934). \nSpecial Opening Event\nThursday\, April 4\, 2019 / 6–8PM \nPlease join Mary Bauermeister in her galaxy presentation\, where 50 unique artist-made pencils will be magically suspended. All proceeds from the sale of pencils will benefit The Children’s Museum of Manhattan (CMOM)\, a premiere New York City institution\, helping children thrive through programs in early childhood development\, art & creativity\, world cultures and health.
URL:https://artinamericaguide.com/event/mary-bauermeister-live-in-peace-or-leave-the-galaxy/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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