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DTSTART;VALUE=DATE:20241029
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SUMMARY:Charles White at The Art Show\, Booth D16
DESCRIPTION:View the complete exhibition checklist \nBenefit Preview: Tuesday\, October 29\nWednesday\, October 30\, 12–7PM\nThursday\, October 31\, 12–7PM\nFriday\, November 1\, 12–7PM\nSaturday\, November 2\, 12–6PM \nVisit Michael Rosenfeld Gallery in Booth D16 \n“Actually\, I’ve only painted one picture in my entire life … I see my totality of 300 years of history of black people through one little fraction … a family … my family. … I don’t try to record it\, but use it symbolically to make a very broad universal statement about the search for dignity\, the search for a deeper understanding of the conflict and the contradictions of life … so that there is more to it than just the illustrative portrayal of a history of a family … what I’m trying to do is talk about the history of humanity.”[1]\n—Charles White (1918–1979) \nMichael Rosenfeld Gallery is pleased to participate in The Art Show 2024 with Charles White\, a solo exhibition of paintings and drawings from each period of the artist’s career with particular emphasis on the Civil Rights Movement era. Bringing together a compelling selection of major works dating from 1936 to 1975\, Charles White offers a concise survey of the artist’s style as it evolved over four decades in his relentless endeavor to affectively convey the humanitarian themes that were the primary concern of his art. \nActive in Chicago\, New York\, and Los Angeles\, Charles White produced a powerful body of figurative compositions depicting subjects drawn from the rich history of Black America and the world around him. His prolific oeuvre comprises social realist scenes\, narrative compositions of historical subjects\, and a large body of portraiture depicting political leaders\, creative luminaries\, and everyday Black Americans from all walks of life. White’s allegorical compositions of the 1960s are especially well-represented in Michael Rosenfeld Gallery’s presentation with a group of large-scale drawings that exhibit his masterful technical skill and directly address the social and political injustices endemic to Black American life. White’s art evolved through various styles over a forty-year period as he adapted his approach to adequately convey his shifting interests\, but he never wavered in his dedication to portraying Black Americans in “images of dignity\,” as he put it. \nHighlights of Charles White include two major portraits of venerated musical artists\, Paul Robeson (1973) and Leadbelly (1975). Commissioned by photographer and filmmaker Gordon Parks (1912–2006) for the promotional art and soundtrack album cover associated with the 1976 film Leadbelly—which Parks directed—White’s portrait is an elevating portrayal of the blues legend\, who he renders in titanic proportions reflective of the indelible impact he had on twentieth-century music. Paul Robeson is similarly monumental in scale but takes a tondo format\, focusing the eye on the baritone’s exquisitely rendered face gazing heavenward at a dappled beam of light. Chosen by White for its ties to Renaissance portraiture\, the tondo functions as “a framing device that subtly evokes a cosmic sense of the measureless or boundless.” [2] \nWhite’s Mural Study for Camp Wo-Chi-Ca (1945) is a rare preparatory drawing for a mural at the Worker’s Children’s Camp in New Jersey\, where he taught art and met his second wife\, Frances Barrett. Reflecting his admiration for the Mexican muralists and incorporating iconography from the indigenous cultures of the Pacific Northwest\, the traditional arts of Africa\, and the spiritual practices of the Far East\, the drawing synthesizes White’s diverse cultural interests while articulating his vision for an equitable standard of education that advances a cosmopolitan world view. Booth D16 also features prime examples of White’s beatific portrayals of Black women with Let the Light Enter (1961) and J’Accuse No.3 (1965). Dedicated to poet and abolitionist Frances Ellen Watkins Harper (1825–1911)\, Let the Light Enter is emblematic of White’s exalting portrayals of historical figures\, which often strove to recuperate overlooked or underknown leaders from Black American history while drawing parallels with the contemporaneous struggle for civil rights. J’Accuse No.3 belongs to a series titled after nineteenth-century French writer Émile Zola’s famous indictment of the French state’s systemic discriminatory practices that resulted in the Dreyfus Affair. Portraying a woman’s serene\, upturned face emerging from an ethereal\, swirling atmosphere of light and dark\, J’Accuse No.3 allegorizes the steadfast fortitude of innumerable anonymous civil rights activists who sought political justice from a prejudicial government. \nA primary example from the Nobody Knows My Name series—titled after James Baldwin’s 1961 essay collection—rounds out the exhibition’s focus on the 1960s. Illuminated by a crack of light in an otherwise dark space\, the subject of Nobody Knows My Name #1 (1965) is a young man who gazes into the space of the viewer with a calm seriousness. Poetically symbolizing the subject’s struggle for recognition from a society that seeks to ignore and suppress him\, the drawing epitomizes what art historian David C. Driskell wrote of White’s series and Baldwin’s book: “With genuine concern for having one’s presence acknowledged\, for being visible\, comes recognition that communal interaction is one of the things that makes us human.” [3] \nThe resurgent interest in Charles White’s life and oeuvre in recent years is in large part due to the landmark touring exhibition co-organized by the Art Institute of Chicago and The Museum of Modern Art in New York\, Charles White: A Retrospective (2018–19). Curated by Sarah Kelly Oehler\, the Institute’s Field-McCormick Chair and Curator of American Art\, and Esther Adler\, MoMA’s Associate Curator of Drawings and Prints\, the exhibition presented over one hundred works dating from 1935–79. Two major works on view in Michael Rosenfeld Gallery’s Art Show 2024 presentation were recently featured in the critically renowned historical survey Going Dark: The Contemporary Figure at the Edge of Visibility at the Solomon R. Guggenheim Museum in New York (October 2023–April 2024)\, curated by Ashley James\, the museum’s Associate Curator of Contemporary Art. \nMichael Rosenfeld Gallery has championed the work of Charles White for over thirty years. The artist was a fixture of the gallery’s acclaimed annual exhibition series African American Art: 20th Century Masterworks (1994–2003)\, and in 2009 the gallery mounted Charles White: Let the Light Enter\, Major Drawings 1942–1970\, the catalogue for which first published a 1960s radio interview with the artist released to the gallery by the Charles White Archives. In 2018\, the gallery organized the widely praised exhibition Truth & Beauty: Charles White and His Circle\, which surveyed the artist’s career while contextualizing his work within a larger milieu of figurative artists whose work addressed social and political subjects. The accompanying catalogue published texts discussing White’s art\, career\, and influence by Benny Andrews\, Romare Bearden\, John Biggers\, Eldzier Cortor\, Ernest Crichlow\, Jacob Lawrence\, Hughie Lee-Smith\, and Hale Woodruff. \n1. Charles White quoted in Edmund W. Gordon\, “First and foremost\, an artist” in Freedomways: A Quarterly Review of the Freedom Movement vol. 20\, no. 3\, special issue “Charles White: Art and Soul” (1980): 137\n2. John P. Murphy\, “Vision\, 1973\,” in Veronica Roberts\, ed.\, Charles White: The Gordon Gift to The University of Texas (Austin\, TX: Blanton Museum of Art\, The University of Texas at Austin\, 2019)\, 37.3.\n3. David C. Driskell\, “Foreword\,” in Andrea D. Barnwell\, Charles White(Rohnert Park\, CA: Pomegranate Communications\, Inc.\, 2002)\, ix
URL:https://artinamericaguide.com/event/charles-white-at-the-art-show-booth-d16/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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SUMMARY:IFPDA Print Fair
DESCRIPTION:Manneken Press will be participating as an exhibitor in the 2024 IFPDA Print Fair. The IFPDA Print Fair\, presented annually by the International Fine Print Dealers Association\, is the world’s largest art fair for prints and editions. This year sixty four exhibitors from across the globe will convene at NYC’s iconic Park Avenue Armory February 15 – 18\, 2024. These print galleries\, dealers and publishers will offer exquisite contemporary\, modern and historical fine art prints and works on paper for sale. Manneken Press’s booth\, #C16\, will feature prints by notable contemporary artists\, published by and produced at Manneken Press. They represent our latest releases with many having been created only in the past several months. \nHighlights of our booth are several works made by New York City-based poet and critic John Yau in collaboration with an artist\, including several impressions from a series of word-and-image monotypes made in collaboration with Chicago artist Richard Hull in 2023\, and from 2014\, a portfolio of colorful lithographs by painter Judy Ledgerwood to which Yau contributed a poem. An exhibition at the University of Kentucky Art Museum\, Disguise The Limit: John Yau’s Collaborations\, includes these projects with Hull and Ledgerwood. Also featured in our booth will be a suite of nine monotypes by Ledgerwood\, and our most  recent projects: aquatint editions by Matt Magee and Jill Moser.
URL:https://artinamericaguide.com/event/ifpda-print-fair/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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SUMMARY:The Art Show 2023\, Booth A4
DESCRIPTION:Michael Rosenfeld Gallery is pleased to participate in The Art Show 2023 with Charmion von Wiegand\, a solo exhibition of collages\, paintings\, and works on paper dating from 1945 to 1970\, comprising a vibrant survey of the artist’s most productive years. The exhibition constitutes an abridged version of the Kunstmuseum Basel’s recent retrospective Charmion von Wiegand (March 24–August 8\, 2023)\, to which the gallery loaned sixteen works. \nOn view at Booth A4\, Charmion von Wiegand charts the evolution of the artist’s mature style as she expanded her visual language to incorporate a thoroughly cosmopolitan range of influences. An important translator and protégé of Piet Mondrian (1872–1944)\, Charmion von Wiegand (1896–1983) developed her own approach to Neoplasticism that carried on the Dutch artist’s investigation of Theosophical principles while incorporating concepts\, designs\, and symbols from the Eastern religions she studied and eventually adopted as her personal spiritual guides. Also influenced by the automatist practices of the Surrealists and the densely urban environs of Manhattan\, von Wiegand’s collages and biomorphic abstractions of the 1940s soon segued into a more overt embrace of Mondrian’s Neoplastic grid. She continued in this vein through the 1950s and gradually began to incorporate motifs and compositional processes drawn from Taoist doctrines. Throughout the 1960s\, the artist’s intellectual interest and personal involvement in Eastern philosophies and religions\, especially Tibetan Buddhism\, inspired her to compose exacting amalgamations of stupas\, mandalas\, hexagrams\, prismatic grids\, and more. \nThroughout her career\, von Wiegand drew inspiration from a diverse range of sources\, including Theosophist color theory\, the I Ching\, Egyptian cosmology\, tantric yoga\, and various branches of Buddhism\, forging a singular language of geometric abstraction illuminated by her ardent pursuit of spiritual transcendence. From 1967 until her death in 1983\, von Wiegand devoted her spiritual life to Mahayana Buddhism\, and the art she produced in the years leading up to this conversion reflects her insatiable curiosity for non-Western systems of thought and spirituality. Scholar Massimo Introvigne\, a sociologist of religion\, posits that von Wiegand’s paintings of the 1960s “arguably represent the deepest Western visual representation of Tantrism: not a mere imitation of Eastern models\, but a reinterpretation of the modern abstract art of the West through Tantric lenses.”[1] As art historians and curators continue to expand the history of spiritual abstraction in the 20th century to include such luminaries as Sonia Delaunay\, Hilma af Klint\, and Agnes Pelton\, the work of Charmion von Wiegand has attracted greater institutional recognition and an international audience. \nMondrian had been active in Theosophical circles while living in Europe\, and\, in von Wiegand’s view\, internalized the Theosophical doctrine to the extent where its teachings not only informed his painting practice but became “implicit to his life.”[2] Though her first exposure to Theosophy was in childhood\, when she attended Theosophical Society meetings with her parents\, von Wiegand did not study the subject in earnest until she was an adult. In the 1920s\, she studied the esoteric philosophy of George Ivanovich Gurdjieff\, who she came to revere as a spiritual guide\, and her later friendship with Mondrian inspired her to revisit Theosophist thought; in 1946 she read the religion’s foundational text\, The Secret Doctrine by Helena Blavatsky as well as ancillary texts by Annie Besant and C. W. Leadbeater\, sparking an extended study of Theosophist color theory in her art. Another important event in von Wiegand’s spiritual life occurred in 1967\, when she met Khyongla Rato Rinpoche\, a Gelugpa monk who had recently arrived in New York as a refugee from China’s invasion of Tibet. Rato would mentor her spiritual study in the tradition of Mahayana Buddhism until her death\, and it was through him that she was given an audience with the Dalai Lama during her travels to India and Tibet. In 1975\, Rato founded the Tibet Center in New York and invited von Wiegand to sit on its Board of Advisors. \nThe daughter of a journalist for Hearst\, von Wiegand had a culturally stimulating upbringing\, living in Chicago\, San Francisco\, Arizona\, and Berlin. After studying journalism and art history at Barnard College and Columbia University\, she pursued a writing career that eventually led to her becoming a night correspondent for Hearst in Moscow\, where she was the only woman at the desk\, from 1929–32. After moving back to New York and marrying leftist writer Joseph Freeman\, she continued to pursue a career in journalism and began writing art criticism. A breakthrough with her psychologist in 1927 had led to her realization that she wanted to be a painter\, and she spent much of the 1930s cultivating an art practice in her spare time. After meeting Mondrian in 1941\, von Wiegand was inspired to make painting her primary endeavor. One of the few women who achieved success in the field of American abstract art in the postwar years\, von Wiegand’s social circle reflected her artistic interests and included such avant-garde luminaries as Hart Crane\, Sonia Delaunay\, John Graham\, Jean Hélion\, Carl Holty\, Frederick Kiesler\, Hans Richter\, Joseph Stella\, and Mark Tobey. Many of her peers shared her interest in Eastern religion and philosophy\, and von Wiegand’s unique visual language embodies what curator Haema Sivanesan describes as a transcultural\, “modern Buddhism”[3] that exemplifies the deep engagement with Eastern spiritual and aesthetic philosophies by the era’s artists and intellectuals. \nCharmion von Wiegand at the Kunstmuseum Basel was curated by the museum’s Curator of Contemporary Art\, Maja Wismer\, and was the artist’s first career retrospective at a European institution. In 2021\, Prestel Verlag released a beautifully illustrated catalogue\, Charmion von Wiegand: Expanding Modernism\, which includes a trove of primary document reproductions\, a selected chronology\, and contributions by Wismer as well as Martin Brauen\, an anthropologist specializing in Himalayan culture; art historian Lori Cole\, Associate Professor at New York University; Haema Sivanesan\, Curator at the Art Gallery of Greater Victoria; Nancy J. Troy\, Professor in Art at Stanford University; and art historian Felix Vogel\, who currently teaches at the University of Basel. \nMichael Rosenfeld Gallery’s commitment to the art of Charmion von Wiegand is longstanding. Since taking on the artist’s representation in 1998\, the gallery has worked closely with the estate to mount five solo exhibitions highlighting important facets of von Wiegand’s groundbreaking oeuvre: Spirit & Form\, Collages 1946–1963 (1998)\, Spirituality in Abstraction (2000)\, Improvisations\, 1945 (2003)\, Offering of the Universe (2007)\, and Secret Doors (2014)\, four of which were accompanied by fully-illustrated catalogues publishing new scholarship by leading art historians and curators. \n[1] Massimo Introvigne\, “From Mondrian to Charmion von Wiegand: Neo-Plasticism\, Theosophy\, and Buddhism\,” in Judith Noble\, ed. Black Mirror 0: territory (Somerset\, United Kingdom: Fulgur\, 2019) p. 58 \n[2] Charmion von Wiegand\, from Margit Rowell\, “Interview with Charmion von Wiegand\,” Piet Mondrian 1872–1944: Centennial Exhibition\, exh. cat. (New York: The Solomon R. Guggenheim Museum\, 1971) p. 77 \n[3] Haema Sivanesan\, “Charmion von Wiegand’s Vision of Modern Buddhism\,” in Maja Wismer\, ed. Charmion von Wiegand: Expanding Modernism (Basel: Kunstmuseum Basel\, 2021) p. 91
URL:https://artinamericaguide.com/event/the-art-show-2023-booth-a4/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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DTEND;TZID=America/Halifax:20221106T170000
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SUMMARY:The Art Show Organized by ADAA 2022
DESCRIPTION:Michael Rosenfeld Gallery is pleased to participate in The Art Show 2022 with Alfonso Ossorio: Congregations\, a solo exhibition featuring a selection of found-object assemblages executed between 1962 and 1967 by the most significant Filipino artist of the 20th century. \nCreated between 1959 and 1990\, the Congregations explore themes Alfonso Ossorio (1916–1990) addressed throughout his career\, including the trauma of human gestation and birth\, the specious definitions of race\, and the fraught relationship between religion and sexuality—something he personally struggled with as an openly gay man profoundly devoted to Catholicism. Michael Rosenfeld Gallery’s presentation brings together works from the 1960s\, the decade that witnessed the evolution of the Congregations\, which would become Ossorio’s final body of work. The artist’s unique approach to the medium of assemblage was highly influential to subsequent generations of artists\, and Alfonso Ossorio: Congregations provides a rare opportunity to explore some of the finest examples from the series.
URL:https://artinamericaguide.com/event/the-art-show-organized-by-adaa-2022/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Art Fair
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