BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Art in America Guide
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20190310T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20191103T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20210314T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20211107T050000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200926
DTEND;VALUE=DATE:20210124
DTSTAMP:20260614T022433
CREATED:20200917T175524Z
LAST-MODIFIED:20210107T222212Z
UID:77267-1601078400-1611446399@artinamericaguide.com
SUMMARY:Benny Andrews: Portraits\, A Real Person Before the Eyes
DESCRIPTION:“I start out\, I make a mess… I have to throw myself off so I don’t copy what is right on top of my mind. Because if I just draw out or paint on something\, I’m just copying what’s in my mind. I’m trying to get deeper than that into my unconscious… I start out with a face and when I get a face that conveys a feeling to me of a real person\, and I mean in feeling—I don’t mean in realistic photographic likeness\, but I mean feeling. When I get some that looks like a real face then I’m on my way… A cardboard person\, no matter how real their surroundings are\, [is] still cardboard. So\, that’s what I’m trying for… some kind of strength. Whatever it is depends on whatever I’m trying to say—happiness\, love\, all those kinds of things. But if I get a real person before the eyes\, then I’m on my way.”[1] —Benny Andrews\, 1968 \nMichael Rosenfeld Gallery is pleased to present its third solo exhibition for Benny Andrews (American\, 1930–2006)\, showcasing portraits—a vital and constant genre throughout the artist’s oeuvre. Scheduled to open on Saturday\, September 26\, 2020\, Benny Andrews: Portraits\, A Real Person Before the Eyes will feature 35 portraits\, represented by paintings and works on paper created between 1957 and 1998. The exhibition will be accompanied by a fully-illustrated color catalogue with new scholarship by Jessica Bell Brown\, Associate Curator for Contemporary Art\, The Baltimore Museum of Art; Connie H. Choi\, Associate Curator\, Permanent Collection\, The Studio Museum in Harlem; and Kyle Williams\, Director of the Andrews-Humphrey Family Foundation. \nBenny Andrews: Portraits\, A Real Person Before the Eyes traces Andrews’ commitment to portraiture\, beginning in 1957 with Andrews’ seminal collage painting Janitors at Rest\, and including portraits of fellow artists Marcel Duchamp\, Ludvik Durchanek\, Norman Lewis\, Ray Johnson\, Alice Neel\, and Howardena Pindell\, and also of his father George C. Andrews\, and wife\, Nene Humphrey. While Andrews created portraits of people he knew\, as well as of himself\, portraiture also served as a vehicle through which he could metaphorically express the personification of ideas\, thoughts\, emotions and values. \nIn his deeply humanizing portraits\, Andrews employed his signature and pioneering use of paint and collage to build surface in order to create depictions composed of fleshy tactility\, extending his sitters into three-dimensional space as a way of reinforcing their human presence and defining their distinct characteristics\, since “collage provided him with a degree of depth and breadth not found in painterly realism.”[2] Indeed\, his discovery of collage and texture was a way to construct surface in order to affirm his interest in both the individual and shared experience of humanity. His powerful depictions of people—both named and unnamed—reinforce his deep connection to the emotional soul of mankind. \nSearching for a visual language to capture the immediacy of everyday life and the quotidian nature of his subject matter\, Andrews first developed his “rough collage” technique\, combining scraps of paper and cloth with oil paint on canvas\, as a student. He honed this technique in a breakthrough period during his studies at the School of the Art Institute of Chicago\, when\, in 1957\, he was struck by the school’s African American janitors and created the pivotal Janitors at Rest\, which first introduced collage into his painting. This critical component would inform the rest of his artistic career. The work—begun during his last year of school—became a turning point for him as he began to completely devote himself to painting. At the same time\, he began studying with the painter Boris Margo (1902-1995)\, “the instructor who had encouraged him to paint what he knew\, what he felt.”[3] Indeed\, Andrews was inspired by the janitors and their environment\, studying their faces and experimenting with their materials—like towels and toilet tissues. The artist wrote: \n“I placed the two little wads of tissues on a stool in front of my newly stretched canvas and sat back and started to think\, Who are these men? They are the school janitors to us\, Black and White\, but in their minds they were much more. Yet here I am trying to think of some way to express my feelings for them that transcends the superficial jobs that they are stuck with\, but how? I started fingering the two wads of paper and I thought\, ‘Why not paste it on my canvas with no prescribed idea of designs or even picture\, just paste it on at random. I know it is representative of an environment that they exist in\, so if I put that on my canvas\, and started playing around with ideas of them and so forth\, maybe I’ll come up with an idea that is not so commonplace.’ I did that and then I started painting their faces. I smeared paint. I kept turning the canvas around\, and I even went back to the men’s room a couple of times to talk with them that afternoon. I started working with collage that way\, and I have been using it ever since.”[4] \nIn her essay for the exhibition’s catalogue\, Jessica Bell Brown writes of Andrews’ remarkable portraits: “Taken together\, these works signal what it means to be at once the beholder and image-maker\, to open new portals for irreducible sensibilities unique to those being portrayed. Andrews’ empathetic brush has over the course of time straddled the line between inventiveness and observation\, and honed the ability to truly grapple with all the complexities of identity and self-making. In this contemporary moment of evident and renewed socio-political reckoning\, Andrews’ portraits are faithful models for holding space for the expansiveness of subjectivity and personhood in American art.”[5] \nIn 2009\, Michael Rosenfeld Gallery LLC became the representative of the Benny Andrews Estate and this exhibition has been organized with their cooperation. \nMore information on Benny Andrews (1930-2006). \n  \nIn light of the current public health crisis and to prioritize the well-being of our staff & visitors\, the gallery is currently open by appointment only. We ask all visitors to wear a mask when inside the gallery. \nTo schedule your visit\, click here.
URL:https://artinamericaguide.com/event/benny-andrews-portraits-a-real-person-before-the-eyes/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/09/Portrait-of-the-Portrait-Painter.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200204
DTEND;VALUE=DATE:20200715
DTSTAMP:20260614T022433
CREATED:20200123T175146Z
LAST-MODIFIED:20200715T165441Z
UID:63873-1580774400-1594771199@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/01/NYTimes-Digital-February_flexXL2.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191121T100000
DTEND;TZID=America/Halifax:20200125T180000
DTSTAMP:20260614T022433
CREATED:20191120T144812Z
LAST-MODIFIED:20191126T175823Z
UID:61835-1574330400-1579975200@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/11/AIA.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190906
DTEND;VALUE=DATE:20191117
DTSTAMP:20260614T022433
CREATED:20190702T201147Z
LAST-MODIFIED:20191106T153024Z
UID:57954-1567728000-1573948799@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/AIA.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20190803
DTSTAMP:20260614T022433
CREATED:20190523T155033Z
LAST-MODIFIED:20190618T141229Z
UID:54119-1560556800-1564790399@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/05/AIA-2.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20190803
DTSTAMP:20260614T022433
CREATED:20190510T211635Z
LAST-MODIFIED:20190510T211635Z
UID:53069-1560556800-1564790399@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/05/AIA.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190521T180000
DTEND;TZID=America/Halifax:20190521T210000
DTSTAMP:20260614T022433
CREATED:20190510T211613Z
LAST-MODIFIED:20190510T211619Z
UID:53073-1558461600-1558472400@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/05/Portrait2_preferred.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190405
DTEND;VALUE=DATE:20190609
DTSTAMP:20260614T022433
CREATED:20190325T164030Z
LAST-MODIFIED:20190325T164030Z
UID:50156-1554422400-1560038399@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Listing_small.jpg
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
END:VCALENDAR