, Stand n° AM133
Study for Cross River, 1975
AC96 30, 1996
FRIEDEL DZUBAS was born in Berlin in 1915. He left Germany in 1939, moving to Chicago, where he found work as an illustrator. By the late 40’s, he settled in New York City and became associated with some of the leading young painters of the time. Jackson Pollock was his close friend, and he shared a studio with Helen Frankenthaler.
He had his first show at the Tibor de Nagy Gallery in 1952. Several years later, the critic Stuart Preston, writing in the New York Times, admired his “airy explosions of shape and color,” which could bring to mind storms and sea swirls. By the late 50’s and early 60’s, his art could also be described as “ a sort of delightful rococo postscripts to the baroque thunder of Abstract Expressionism,” as the critic Brian O’Doherty put it in The Times.
During the mid-60’s Mr. Dzubas painted hard-edged blocks of color. But he soon returned to a more expressive and improvisational manner that sought to bridge the contemporary concerns of American abstraction with his European past. He especially admired the Romantics, and his art was sometimes linked in spirit to the German Romanticism.
Friedel Dzubas died in New York in 1994 at age 79.
Study for Cross River, 1975
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MALCOLM LIEPKE was born in 1953 in Minneapolis, Minnesota. He studied at the Art Center College of Design in Pasadena, California, but dropped out after a year and a half. He moved to New York and began studying on his own artists such as John Singer Sargent, Edgar Degas, Henri de Toulouse-Lautrec, Diego Velázquez, James McNeill Whistler and Édouard Vuillard. Liepke and Milt Kobayashi are friends and former roommates with similar styles.
His art has been on the covers of Time, Newsweek, Forbes and Fortune. His artworks are now in the collection of the Smithsonian Institution and the Brooklyn Museum. Liepke's work has been widely shown and exhibited in the Pastel Society of America, the American Watercolor Society, National Academy of Design and the National Arts Club. Leipke's emphasis has been on figurative artworks. His paintings and drawings often focus on intimate moments of sensual pleasure and introspection. Liepke has been selling out his exhibitions since his 1986 show.
SOLO SHOWS AND EXHIBITIONS
2014 - Nikola Rukaj Gallery, Toronto, Canada
2010 - Albemarle Gallery London
2007-2010 - Arcadia Fine Arts, New York, NY
2006 - Track 16 Gallery, Santa Monica, CA
2003 - Buschlen Mowatt Gallery, Vancouver, B.C.
2002-2005 - Arcadia Fine Arts, New York, NY
2001 - DNFA Gallery, Pasadena, CA
1999-2000 - Mendenhall Gallery, Pasadena, CA
1998-2000 - Albemarle Gallery, London , UK
1997 - USARTISTS'97, Philadelphia
1996-2001 - Eleanor Ettinger Gallery, New York, NY
1996 - P & C Fine Arts, Washington, DC
1996-1999 - Mendenhall Gallery, Los Angeles
1995 - White Oak Gallery, Minneapolis
1995-1999 - Newbury Fine Arts, Boston
1992-1995 - Art Asia - Hong Kong
1991 - Art Miami International Art Fair
COMMISSIONS AND COLLECTIONS
The Brooklyn Museum
The Smithsonian Museum
Indiana Museum of Art
National Academy of Design
National Museum of Sport
American Can Co.
Donna Karan NY Newsweek Magazine
H.J. Heinz Company
Mobil Oil Corporation
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WILLIAM PEREHUDOFF was born in 1918 in Langham, Saskatchewan and is one of Canada’s foremost modernist painters. With a career that has spanned six decades he is known primarily as a colorist and part of the Colour Field movement. His representation of space has often been influenced by the expanse of Canada’s prairies.
Perehudoff’s early interest in muralists like Diego Rivera took him to the Colorado Springs Fine Art Center to study with the eminent French muralist, Jean Charlot in 1949. In New York he studied with Amédée Ozenfant, one of the co-founders with Le Corbusier of Purism, an offshoot of Cubism.
In the early 60’s, Perehudoff’s direction turned to pure abstraction and he attended a variety of Emma Lake Artists’ Workshops including those led by New York critic, Clement Greenberg and artist Kenneth Noland.
William Perehudoff has exhibited internationally and his work is found in numerous public collections. He died at his home in Saskatoon, Saskatchewan on February 26, 2013 at the age of 94.
2012 Robert McLaughlin Gallery, Oshawa, Canada
2011 Nikola Rukaj Gallery, Toronto, ON, Canada
2011 Kamploops Art Gallery, British Columbia, Canada
2011 Art Chicago, Chicago, Illinois, USA
2010 Mendel Art Gallery- Saskatoon, Sask, Canada
2008 Poussin Gallery, London, England
2007 Nikola Rukaj Gallery, Toronto, ON, Canada
2005 Art Gallery of Ontario, Toronto, ON, The Shape of Colour
2005 Excursions in Colour Field Art, 1950-2005
2006 Canada House, London, England, William Perehudoff, Colour Chording
2002 Post Painterly Abstraction of the Canadian Prairies
2002 Mendel Art Gallery, Saskatoon, SK, William Perehudoff, Now and Then
2001-04 Portland Art Museum, Portland, Oregon
2004 Clement Greenburg, A Critic’s Collection
2001 Palm Springs Desert Museum, Palm Springs
1994 Art Gallery, Edmonton, AB
1994 Glenbow Museum, Calgary, AB
1993 The Mendel Art Gallery, Saskatoon, SK., William Perehudoff, Edmonton
1990 Waddington Gorce Inc., Montreal, PQ
1988 Eva Cohon Gallery, Chicago, Illinois
1982 Waddington Galleries, New York, N.Y.
1980/78 Meridith Long Contemporary Gallery, New York, NY
1976 Waddington-Tooth Gallery, London, UK
1977 Hirshhorn Museum and Sculpture Garden, Washington, DC. 14
1977 Canadians, A Critic’s Choice, catalogue by Andrew Hudson
1974-76 Noah Goldowsky Gallery, New York, NY
1948 Saskatoon Arts Centre, Saskatoon, SK, Canada
The Art Gallery of Nova Scotia
The Art Gallery of Ontario
The Bank of Montreal
The Bank of Nova Scotia
Campbell Godfrey & Lewtas
Canada Council Art Bank
Coca Cola Inc.
Confederation Art Centre and Museum
Deacon Hodgson Inc.
The Edmonton Art Gallery
The Glenbow-Alberta Institute
Goodman & Goodman
Her Majesty Queen Elizabeth
Inner-City Gas Corporation
Kamloops Art Gallery
London Art Gallery
The MacKenzie Art Gallery
MDC Group of Companies
AC96 30, 1996
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EBERHARD ROSS explores what he calls "Organic Geometries" ; the dynamic subtleties, structures and patterns found in nature.
Inspired by Eastern philosophy and scientific investigation, he has developed a keen sense of observation. His work is soothing, minimal, meticulously rendered and nuanced.
Capturing a moment in time, like the flying maneuvers of flocking birds, he creates a meaningful and poetic balance between flashes of randomness and order.
BORN in 1959 in Krefeld, Germany
University Essen (Folkwang School) with Laszlo Lakner, Frederick Gräsel
University Essen (Folkwang School) with Laszlo Lakner, Frederick Gräsel
SELECTED SOLO EXHIBITIONS
1999 "Force Field", Zeche Zollverein, Essen
1999 "Stille Zeichen"
2001 RWW, Mülheim an der Ruhr
2002 "Gerade.Ungerade" Renate Moltrecht Gallery, Essen
2003 "Memory", Renate Moltrecht Gallery, Essen
2005 "Art in the Rotunda," GEA head office in Bochum
2005 Villa Brandenburg, Ralf Schmitz Collection, Kempen
2006 "Organic Geometry", Art Museum Old Post Office, Mülheim an der Ruhr (painting)
2006 "Organic Geometry", City Gallery Strünkede Castle, Herne (drawing)
2006 "Organic Geometry", GAM Obrist Gallery at the Museum Folkwang,
2007 "Organic Geometries", The Study Gallery, Poole, Bournemouth, UK
2007 "Organic Geometry", City Gallery Brunsbüttel
2007 Max-Planck-Institute of Molecular Physiology, Dortmund
2008 "Biosphere 1", Cora Hölzl Gallery, Düsseldorf
2009 "Source", GAM Obrist Gallery at the Museum Folkwang,
2010 "Between Space", Four Square Fine Arts, Redchurch Gallery London, UK
2010 "Organic Geometry 2", Museum Kalkar
2010 "Organic Geometries", Nikola Rukaj Gallery, Toronto, Canada
"Art in London," Four Square Fine Arts, Lewes, UK
"Toronto International Art Fair", Nikola Rukaj Gallery Toronto, Canada
"Arts in Zurich," Upstairs Gallery at Museum Folkwang, Germany
"London Art Fair", Four Square Fine Arts, Lewes, UK
"Glasgow Art Fair", Four Square Fine Arts, Lewes, UK
"Art KARLSRUHE" GAM Obrist Gallery at Museum Folkwang, ENG, Cora Hölzl Gallery
"Affordable Art Fair", London, Four Square Fine Arts, Lewes, UK
"Art Chicago", USA with Nikola Rukaj Gallery Toronto, Canada
"Affordable Art Fair", New York, Four Square Fine Arts, Lewes, UK
"Art Hamptons" Art Fair, New York, Nikola Rukaj Gallery Toronto, Canada
Art Museum Old Post, Mulheim an der Ruhr
North Rhine-Westphalia Art Collection,Cornelimünster Aachen
City of Essen
Royal Bank of Canada
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Other Represented Artists
MILTON AVERY was born at Sand Bank, New York, today known as Altmar, on 7 March 1893. After studying for a while at the Connecticut League of Art Students in Hartford under Charles Noel Flagg and at the Art Society School there under Albertus Jones, Avery worked in manufacturing and with an insurance company until 1924. He moved to New York in 1925 and married the artist Sally Michel, an illustrator, a year later. He had his first one-man show as early as 1928 at the Opportunity Gallery in New York. The decades that followed saw him show work at numerous exhibitions mounted by New York galleries and American museums. Milton Avery's preoccupation with French Fauvism and German Expressionism led him to develop a simplified formal idiom distinguished by clarity of line and an expressive palette. Whereas Avery's early figurative drawings and paintings from the 1930s attest to affinities primarily with the work of Ernst Ludwig Kirchner, by the 1940s he was discernibly close to Henri Matisse.
As the American upholder of Matisse's colouristic doctrine, Milton Avery developed the French artist's decorative colour surfaces into subtly toned colour zones, thus breaking the ground for the Colour Field painting of Mark Rothko and Adolph Gottlieb, both of whom were friends of his. Even though his style was close to abstraction, Milton Avery nonetheless clung to representation throughout his entire career. Classical motifs and subject matter in portraits, still lifes and coastal landscapes were his main thematic areas and genres.
Prolific as a painter, graphic artist and ceramist, Milton Avery received numerous awards from American art institutions before he died in 1965 although he only really became famous posthumously. Now he is acclaimed as one of the most influential US 20th-century artists
SOHYUN BAE is an American contemporary visual artist who was born in Korea in 1967. She lives and works in New York City.
In 1990 she graduated from the European Honours Program in Rome followed by her Bachelor of Arts at Rhode Island School of Design. After receiving her Master of Fine Arts from Boston University in 1994, she studied religious philosophy at Harvard University where she received a Master of Theological Studies, having worked with the Nobel Laureate, Elie Wiesel.
Since her move to New York City in 1997, Her works have been exhibited widely throughout North America, South America, Europe and Asia. Her works are in permanent collections and in numerous private collections throughout the world.
2015 Sohyun Bae at RH Contemporary Art, New York City
2011 Subliminal Icons: SoHyun Bae and Traditional Korean Art IN CONTEXT, Curated by Mario Diacono, Kang Contemporary, New York
2009 Adorned/Unadorned: SoHyun Bae/Fathi Hassan, Skoto Gallery, New York City (two-person)
2008 Persimmons and Birds: SoHyun Bae, Philip Kang Gallery, Seoul
2005 Wrapped Shards, Skoto Gallery, New York City
2004 An Ode to the Women of Josun Dynasty, Nikola Rukai Gallery, Toronto
2000 SoHyun Bae, Skoto Gallery, New York City
1998 Kore, Mario Diacono Gallery, Boston
1997 Painting as Prayer, Harvard University Center for World Religions, Cambridge
1997 An Ode to the Women of Josun Dynasty, Harvard University Yenching Institute, Cambridge
1994 SoHyun Bae, Harvard University Hilles Library Art Gallery, Cambridge
2007 John Simon Guggenheim Memorial Fellowship in Fine Art
2002 New York Foundation for the Arts Fellowship in Painting
2000 Pollock-Krasner Foundation, Inc. Grant
2000 Artist Residency, The Corporation of Yaddo
1996 National Endowment for the Arts Fellowship in conjunction with Virginia Center for Creative Arts
1993 Skowhegan School of Painting and Sculpture Full Scholarship
1991 Vermont Studio Center Critic's Scholarship
1986 Chautauqua Summer Institute Jenning's Scholarship
The Asian Art Museum of San Francisco, San Francisco, CA
The Peabody Archaeological Museum, Harvard University, Cambridge, MA
The Museum of Modern Art, Finland
Gana Art Center, Seoul, Korea
Kang Collection, New York City
Woods Collection, Lincoln, NE
Mario Diacono, Boston, MA
Neal, Gerber and Eisenberg, Chicago, IL
The Ritz Carlton Hotel, Dubai
Numerous Private Collections
Established American painter William Bailey is known as a contemporary realist painter, who works in styles ranging from abstraction to realism and is best known for his still lifes. Unlike other still-life painters, Bailey composes his paintings on the canvas from his imagination, adjusting the light source and relative scale of each object as he paints.
Born in Council Bluffs, Iowa, Bailey had a youthful vocation for drawing that led him to study with Josef Albers at Yale University. There he made friends with artists such as Willem De Kooning and Jackson Pollock.
William Bailey’s work can be seen in a host of public and private collections, most notably the Smitshsonian American Art Museum, Washington; Hirshhorn Museum and Sculpture Garden, Washington; The Art Institute of Chicago; Stadtisches Surmondt-Ludwig-Museum, Aachen, Germany; Museum of Fine Arts, Boston; The Phillips Collection, Washington; The New York Times, New York; the Whitney Museum of American Art, New York; Yale University Art Gallery. His work is currently on display at the Betty Cunningham Gallery, located at 541 West 25 Street, New York, NY.
Bailey is the subject of two monographs, one by Mark Strand and the other by John Hollander and Guiliano Briganti. He won a Guggenheim Fellowship and was elected to the American Academy and Institute of Arts and Letters. Mr. Bailey has taught at Yale University and Indiana University, and later served as Dean of the Yale School of Art, where he currently teaches painting and drawing.
Still Life at Trovi, 1982 Still Life at Trovi, 1982
WILLIAM BAILEY was born in 1930 in Council Bluffs, Iowa, USA.
1957 MFA from Yale University School of Art, New Haven, CT
1955 BFA from Yale University School of Art, New Haven, CT
1948–51 BS from University of Kansas School of Arts, Lawrence, KS
SELECTED SOLO EXHIBITIONS
1999 Robert Miller Gallery, New York, NY
1998 Crown Point Press, San Francisco, CA
1998 Alpha Gallery, Boston, MA
1997 Galleria d’Arte il Gabbiano, Rome, Italy
1997 University of Connecticut, Storrs, CT
1996 Robert Schoelkopf Gallery, New York, NY
1995 University Art Museum, State University of New York, Binghampton, NY
1995 Andre Emmerich Gallery, New York, NY
1994 Galleria Appiani Arte Trentadue, Milan, Italy
1994 Andre Emmerich, New York, NY
1994 Betsy Senior Gallery, New York, NY
1993 Columbus Gallery, Columbus, GA
1993 Galleria d’Arte il Gabbiano, Rome, Italy
1992 Andre Emmerich Gallery, New York, NY
1991 Robert Schoelkopf Gallery, New York, NY
1991 Donald Morris Gallery, Birmingham, MI
1989 Fairfield Artist of the Year, Center for Financial Studies, Fairfield, CT
1988 Rhode Island School of Design, Providence, RI
1988 John Berggruen Gallery, San Francisco, CA
1987 University Art Galleries, Wright State University, Dayton, OH
1987 FIAC Paris, Grand Palais, Paris, France
1987 Galleria Il Gabbiano, Rome, Italy
1986 Robert Schoelkopf, New York, NY
1985 Galleria Il Gabbiano, Rome, Italy
1984 American Academy in Rome, Rome, Italy
1983 Meadows Gallery, Southern Methodist University, Dallas, TX
1980 Galleria Il Gabbiano, Rome, Italy
1979 Robert Schoelkopf Gallery, New York, NY
1979 Fendrick Gallery, Washington, DC
1978 Galerie Claude Bernard, Parigi, Italy
1976 Dart Gallery, Chicago, IL
1975 Polk Museum, Lakeland, FL
1974 Robert Schoelkopf Gallery, New York, NY
1973 Galleria il Fante di Spade, Rome, Italy
1973 Galleria Dei Lanzi, Milan, Italy
DAVID BEGBIE was born in Edinburgh, Scotland in 1955. He studied at The Slade School of Sculpture and The Royal Society of British Sculptors. He has worked almost exclusively with the human form, primarily sculpting in steel mesh but also producing monoprints, etchings, ink and charcoal drawings and mixedmedia work. Begbie is best known for his distinctive steel mesh figures; for which he achieves very fine intricate sculpting detail of the body's musculature through skillful hand-forming techniques. The steel mesh creates a pliable liveliness and sense of movement that is further enhanced by the use of shadowplay with strategic lighting.
SOLO EXHIBITIONS (selcted)
David Begbie & Marco de Kok, Van Loon Galleries, Vught, The Netherlands
‘SOLID AIR‘ - Vecchiato Arte, Padova, Italy
Juliane Hundertmark Galerie Berlin, Germany
’Solo Salon Show’ Townhouse - Spitalfields, London with Tanner & Lawson, London
‘Archetypes’, Moorhouse, London
’Skindeep’, Ode to Art, Singapore
‘David Begbie’ Van Loon en Simons, Vught, Netherlands
‘GENUS’, Australian Galleries, Sydney
‘GENUS’, Australian Galleries, Melbourne
Soloshow ‘Soft Opening’, David Begbie Gallery, London W1
‘David Begbie’, Albemarle Gallery, London
Gallery David Begbie, London
‘Thin Air’ Air Gallery, London
‘Aria Sottile’, Vecchiato Arte, Padua
‘Unud’, AM Gallery, Roquetas Del Mar, Almeria, Spain
‘Iconii’ Chapter House, Canterbury Cathedral
‘Archetypes’ Moorhouse, London
‘Skindeep’, Ode to Art, Singapore
Gallery David Begbie London
‘Nudus’, Number Nine, Birmingham UK
Biennale, Galerie Van Loon en Simons, Vught, Holland including
‘Rhythmic Ties’ violine concert
’Unud’ Somerville Gallery, Plymouth
Gallery David Begbie at Queens Elm Gallery, Chelsea, London including ‘Rhythmic Ties’ Concert
‘Genii’ Albemarle Gallery, London
Gallery David Begbie, London
‘Grandslam 2008 maquette‘, (A.L.T.E.C. Wimbledon) exhibition
Albemarle Gallery, London
Gallerie Il Ponte Contemporanea, Rome
Gallery David Begbie, London
Galerie Van Loon en Simmons, Netherlands
Form 2007 Olympia; London
‘Antebodies’ Buschlen Mowatt Galleries, Vancouver, Canada
Gallery David Begbie London
Number Nine, Birmingham
‘Nuduu’, Gallery David Begbie
The Catto Gallery, London
Etienne & Van Loon, Netherlands
Gallery David Begbie, London
Hotel Linde, Mariawörth, Austria
Herman Miller Event, International Art Consultants, London
Gallery David Begbie, London
Camino Real Gallery, Boca Raton, Florida
TRITAN BRAHO received a Master in Fine Art from Byam Shaw School of Art, Central Saint Martins College of Art and Design, London, United Kingdom
2011 Fractal Contemporary Gallery, Norwich, UK
2010 Fractal Contemporary Gallery, Norwich, UK
2010 Cambridge Art Fair, Cambridge, UK
2009 A Gallery, Gallery Artists, London, UK
2008 Affordable Art Fair, New British Artists, London, UK
2008 Mediterraneo – A Sea the Unites, Italian Cultural Institute, Belgrave Square, London, UK
2007 Edinburgh Art Fair, Edinburgh, Scotland, UK
2006 London Art Fair, New British Artists, London, UK
2006 A Gallery, Gallery Artists, London, UK
2005 London Art Fair, New British Artists, London, UK
2004 Affordable Art Fair, New British Artists, London, UK
2004 Hammond Harkins Gallery, Ohio, USA
2004 London Art Fair, New British Artists, London, UK
2003 Affordable Art Fair, New British Artists, London, UK
2003 The Affordable Art Fair, Clapham Gallery, New York, USA
2003 Gallery Artists, Clapham Art Gallery, London, UK
2002 The Affordable Art Fair, New British Artists, London, UK
2002 Surface Depth, A Gallery, London, UK
2002 Under a Monkey, A Gallery, London, UK
2001 Bull Fighting, Raw Canvas, The Aldwych Tube, London, UK
2001 The Affordable Art Fair, New British Artists, London, UK
2000 Gallery Artists, A Gallery, London, UK
ALEXANDER CALDER was born on July 22, 1898, in Lawnton, Pennsylvania, into a family of artists. In 1919, he received an engineering degree from Stevens Institute of Technology, Hoboken, New Jersey. Calder attended the Art Students League, New York, from 1923 to 1926, studying briefly with Thomas Hart Benton and John Sloan. As a freelance artist for the National Police Gazette in 1925, he spent two weeks sketching at the circus; his fascination with the subject dates from this time. He also made his first sculpture in 1925; the following year he made several constructions of animals and figures with wire and wood. Calder's first exhibition of paintings took place in 1926 at the Artist's Gallery, New York. Later that year, he went to Paris and attended the Académie de la grande chaumière. In Paris, he met Stanley William Hayter, exhibited at the 1926 Salon des Indépendants, and in 1927 began giving performances of his miniature circus. The first show of his wire animals and caricature portraits was held at the Weyhe Gallery, New York, in 1928. That same year, he met Joan Miró, who became a lifelong friend. Subsequently, Calder divided his time between France and the United States. In 1929, the Galerie Billiet gave him his first solo show in Paris. He met Frederick Kiesler, Fernand Léger, and Theo van Doesburg and visited Piet Mondrian's studio in 1930. Around this time, he also encountered James Johnson Sweeney, future Guggenheim Museum director, who would become a close friend and supporter. Calder began to experiment with abstract sculpture and in 1931 and 1932 introduced moving parts into his work. These moving sculptures were called "mobiles"; the stationary constructions were to be named "stabiles." He exhibited with the group Abstraction-Création (Abstraction Creation, 1931–36) in Paris in 1933. In 1943, the Museum of Modern Art, New York, gave him a solo exhibition.
During the 1950s, Calder traveled widely and executed "gongs" (sound mobiles develope
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NICOLAS CARONE was born in 1917, in New York City, and was raised in Hoboken, New Jersey. He began his formal art studies at the age of 11, at the Leonardo da Vinci School. Subsequently, he studied at the National Academy of Design under Leon Kroll, the Art Students League of New York, Hans Hofmann School of Fine Arts, and the Rome Academy of Fine Arts. He served as the assistant to Leon Kroll during WPA on Worcester War Memorial Mural, from1938 to 1941. Carone the Prix de Rome in 1941 and the Fulbright Fellowship in 1949.
After the war, in 1945, Carone went to Rome, Italy for three and a half years, partly on a Fulbright fellowship. There, he had his first solo exhibition. He also formed a close friendship with his neighbor, Mark Rothko. Once he returned to the United States, Carone continued exhibiting his works. He became close friends with Jackson Pollock and participated in the 9th Street Art Exhibition in 1951.
Carone’s most famous works were large monochromatic paintings. They were characterized by shifting lines and layered brushwork. These works displayed his extensive art historical study as well as the instinctive painting processes of Abstract Expressionism.
Carone taught at a number of universities including Yale, Columbia, Brandeis, Cornell, Cooper Union, and Skowhegan School. He became a founding faculty member of the New York Studio School of Abstract Expressionism. Carone died on July 15, 2010 at the age of 93 in Hudson NY.
GEORGE CAVALLON was born in Sorio, Italy, in 1904. He immigrated to the United States in 1920. In 1926, Cavallon enrolled in the National Academy of Design in New York. Upon graduating, he moved to the rich artistic community of Provincetown. There, he befriended Charles Hawthorne and Hans Hofmann. The time that Cavallon spent in Provincetown cultivated in him a lifelong commitment to his artistic goals and communal spirit.
In 1934, Cavallon was employed in the Works Progress Administration/ Federal Art Project (WPA/FAP) Easel & Mural Division as Arshile Gorky’s assistant. In 1936, Cavallon participated in the formation of the American Abstract Artists group. These artists abandoned art history’s traditional focus on subject matter. They were committed to illuminating the aesthetic qualities of their materials and to the production of beautiful ideas. By the end of the 1940’s, Giorgio Cavallon had connected to the early generation of New York School Abstract Expressionist artists. He was a charter member of The Club and participated in the Ninth Street Show in 1949.
Cavallon’s works featured soft and irregular woven rectangles. They were rendered with Italianate sensitivity to radiating color. His art focuses on sensitivity towards form in space. Cavallon is praised for his unique signature style.
In 1988, Cavallon was inducted into the American Academy and Institute of Arts and Letters in New York City. Cavallon died in 1989, in New York City, New York at the age of 85.
SHAYNE DARK is an Ontario-based contemporary visual artist born in 1952, Moose Jaw, Saskatchewan. He is best known for his towering, public-art installations. Although his production materials are industrial-scale, his organic forms echo the shapes, patterns and movements of the natural world. His use of intensely vivid pigments set-up stark contrasts with landscapes and urban environments.
SELECTED SOLO EXHIBITIONS/PROJECTS
2016 - Brooklyn Botanic Garden Artist Residency, Brooklyn, NY
2015 - Buffalo Botanical Garden Artist Residency, Organized & curated by Aaron Ott, Curator of Public Art, Albright Knox Art Gallery, Buffalo, NY
2014 - Pulse Miami Beach Pulse Project, Miami, FL
Art Mur, Montreal, QC
2013 - Agnes Etherington Arts Centre, Kingston, ON MacLachlin Museum Artist Residency, Kingston, ON
2012 - Masur Museum of Art, Munroe, LA
Winchester Galleries Humboldt Valley, Victoria, BC
The Glenbow Museum, Calgary, AB | Art Gallery of Peterborough, Peterborough, ON | Art in Public Places, Kingston, ON | Art Mur, Montreal, QC
Edward Day Gallery, Toronto, ON | Papier 12, Montreal, QC
2011 - Musée des beaux-arts de Sherbrooke, QC
Art Souterrain, Montreal, QC
2010 - The Robert McLaughlin Gallery, Oshawa, ON (catalogue)
2009 - Musée d’art de Joliette, Joliette, QC Edward Day, Toronto, ON
2008 - Art Mûr, Montréal, QC (catalogue)
2007 - Art Gallery of Mississauga, Toronto, ON
2006 - Edward Day, Toronto, ON Art Mûr, Montréal, QC
2005 - Lonsdale Gallery, Toronto, ON
2004 - SKH Gallery, Great Barrington, MA | Galerie Art Mûr, Montréal, QC
2002 - Canadian Embassy Gallery, Washington, DC
Lonsdale Gallery, Toronto, ON
2001 - Edward Day Gallery, Kingston, ON
SELECTED GROUP EXHIBITIONS/PROJECTS
2015 - Oeno Gallery, Prince Edward County, ON
SIG (Sloan Installation Gallery), Oklahoma City, OK
2012 - Papier 12, Montreal, QC (catalogue)
2011 - Art Souterrain, Montreal, QC
2010 - Albright-Knox Art Gallery, Buffalo, NY
2009 - Newzones Gallery, Calgary, AB | Art Gallery of Sudbury, Sudbury, ON
2007 - Beyond/In Western New York Biennale, Buffalo, NY
2005 - Parisien Laundry, Montréal, QC | The WKP Kennedy Gallery, North Bay, ON – 2-Person
M.O.C.C.A./Edward Day Gallery, 952 Queen Street W Project, Toronto, ON | Circulo de Bellas Artes, Madrid, Spain
2004 - ARTiade 2004 – Olympics of Visual Art, Athens, Greece
2003 - ISC@GFC 2003
GENE DAVIS was born August 22, 1920 in Washington, DC. Davis a major figure in 20th-century American painting whose contribution was invaluable in establishing Washington, D.C., as a center of contemporary art. Davis also played a significant national and international role in the color abstraction movement that first achieved prominence in the 1960s.
Born in Washington, D.C., Davis attended local schools and later worked as a sportswriter and White House correspondent before pursuing a career in art. Although never formally trained, Davis educated himself through assiduous visits to New York's museums and galleries as well as to Washington's art institutions, especially the Phillips Collection. He also benefited from the guidance of his friend Jacob Kainen, an artist and art curator.
Davis considered his nonacademic background a blessing that freed him from the limitations of a traditional art school orientation. His early paintings and drawings—though they show the influence of such artists as the Swiss painter Paul Klee and the American abstractionist Arshile Gorky—display a distinct improvisational quality. This same preference for spontaneity characterizes Davis's selection of color in his later stripe paintings. Despite their calculated appearance, Davis's stripe works were not based on conscious use of theories or formulas. Davis often compared himself to a jazz musician who plays by ear, describing his approach to painting as 'playing by eye.'
In the 1960s, art critics identified Davis as a leader of the Washington Color School, a loosely connected group of Washington painters who created abstract compositions in acrylic colors on unprimed canvas. Their work exemplified what the critic Barbara Rose defined as the 'primacy of color' in abstract painting.
Although Davis's work from the 1960s—mostly hard-edged, equal-width stripe paintings—is generally viewed in the context of the Washington Color School, his goal differed significantly from
SONIA DELAUNAY (nėe TERK) was born November 14, 1885. She was a Russian-born, Jewish-French artist who, with her husband Robert Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. Her work extends to painting, textile design and stage set design. She was the first living female artist to have a retrospective exhibition at the Louvre in 1964, and in 1975 was named an officer of the French Legion of Honor.
Born Sarah Ilinitchna Stern, she was probably born in Gradizhske, then in the Russian Empire, today in Poltava Oblast in the Ukraine. At a young age she moved to St. Petersburg, where her mother’s brother, Henri Terk, an affluent Jewish lawyer, and his wife Anna adopted her. She assumed the name Sonia Terk and received a privileged upbringing. She spent summers in Finland and traveled widely in Europe. She attended the Academy of Fine Arts in Karlsruhe, Germany until 1905.
At the age of 20, she enrolled at the Académie de la Palette in Montparnasse. In Paris she continued to study, work, and live for the rest of her life. She married Robert Delaunay in 1910 and worked with him to create a new form of Cubism (Orphism). The Delaunays' friend, the poet and art critic Guillaume Apollinaire, coined the term Orphism to describe the Delaunays' version of cubism in 1913, which used bright colours, and a feeling of rhythm to produce a unique and new world of expression.
During the war years they lived in Spain until their return to Paris in 1921. In 1923, for the staging of Tristan Tzara’s play Le Cœur à Gaz, she designed the set and costumes. In 1924 she opened a fashion studio together with Jacques Heim. Over these years she developed her wide-ranging talents in the design of theatrical costume, set design, interiors, textiles, book covers, and fashion, remaining active in these areas for over half a century.
In 1966 she published Rythmes-Couleurs (color-rhythms), with 11 of her gouaches r
JEAN DUBUFFET was born on July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn's book on psychopathic art. He traveled to Italy in 1923 and South America in 1924. Then Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942.
Dubuffet's first solo exhibition was held at the Galerie René Drouin, Paris, in 1944; the Pierre Matisse Gallery gave him his first solo show in New York in 1947. During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton, and his style and subject matter owed a debt to Paul Klee. From 1945, he collected Art Brut, spontaneous, direct works by untutored individuals, such as the mentally ill and children. He additionally founded the organization Compagnie de l'Art Brut (1948–51) together with writers, critics, and dealers from Dada and Surrealist circles. For the first public Art Brut exhibition at Galerie René Drouin in 1949, Dubuffet published a manifesto in which he proclaimed the style's superiority over officially recognized art.
From 1951 to 1952, Dubuffet lived in New York. He then returned to Paris, where a retrospective of his work took place at the Cercle Volney in 1954. His first museum retrospective occurred in 1957 at the Schloß Morsbroich (now Museum Morsbroich), Leverkusen, West Germany. Dubuffet exhibitions were subsequently held at the Musée des arts décoratifs, Paris (1960–61); Museum of Modern Art, New York, and Art Institute of Chicago (1962); Palazzo Grassi, Venice (1964); Tate Gallery, London, and Stedelijk Museum, Amsterdam (1966); and Guggenheim Museum (1966–67).
A collection of Dubuffet's writings,
SAM FRANCIS was born Samuel Lewis Francis on June 25, 1923, in San Mateo, California. He began painting in 1944 after being diagnosed with spinal tuberculosis, resulting from a U.S. Army Air Corps accident. In 1947 he studied privately with painter David Park, and soon gave up his intended medical studies, earning a BA in 1949 and an MA in 1950 at the University of California, Berkeley.
He experimented with the dominant and emerging styles of the late 1940s, particularly Abstract Expressionism and Surrealism, eventually developing a personal style of abstraction focused on dripping, cell-like forms, an allover instability, and sensitivity to color and light, as in Opposites (1950). In 1950 Francis moved to Paris and attended the Atelier Fernand Léger, where he was exposed to the work of Pierre Bonnard and Henri Matisse, which reinvigorated his interest in light and vibrant color, visible in his 1953 painting Big Red. Producing such work led to his association with Art Informel, although Francis never fully associated with any movement. A visit to Japan in 1957 coincided with an opening up of expanses of white space in much of his work, and his subsequent move to a larger studio in Paris resulted in the production of large-scale paintings and mural commissions, including a 1959 painting for the Chase Manhattan Bank, New York.
Francis returned to California in 1962 and resumed painting with combinations of bright colors. Clement Greenberg's landmark exhibition Post Painterly Abstraction (1964) at the Los Angeles County Museum of Art, which focused on paintings emphasizing color over gesture, included works by Francis. In the late 1960s, however, color increasingly vanished from his canvases. In 1973 he formed a lithography production company, which published his own prints. Over the next decades, Francis's style in painting and print production evolved from the depiction of bright, centrally placed shapes evocative of Tibetan mandalas (influenced by Jungian psy
FRANCOIS GALL, born in Kolozsvar in the former region of Transylvania on March 22, 1912. Hungarian by birth, became an impressionist painter in the pure French tradition after he moved to Paris in 1936. He studied at the Royal Academy of Fine Arts in Rome while working to secure a living. Support came in 1939 when the Hungarian government awarded Gall with a scholarship. Received the Medaille de Vermeil de la Ville de Paris in 1974. Appointed Chevalier dans l'Odre des Arts des Lettres in 1976.
Six years later, Francois Gall established himself in Paris and became a student of Devambez at the National Academy of Fine Arts. Francois Gall greatly admired the first generation impressionist and adopted their concepts for his own interpretations. Parisian scenes and portrayals of women engaged in typically feminine activities were among his preferred subjects.
The artist participated in various Salon exhibitions in Paris. In 1963, he was honored with the Francis Smith Prize. He died in 1987.
Muses de la Ville de Paris
Musee de l’Union Francaise a Versailles
Musees de Budapest
Musee de l’Art Moderne de Vienne
Salon des Independants
Salon des Tuileries
Salon d’AsnieresGalerie des Beaux-Arts
ALBERTO GIACOMETTI was born October 10, 1901, in Borgonovo, Switzerland, and grew up in the nearby town of Stampa. His father, Giovanni, was a Post-Impressionist painter. From 1919 to 1920, he studied painting at the Ecole des Beaux-Arts and sculpture and drawing at the Ecole des Arts et Métiers in Geneva. In 1920, he traveled to Italy, where he was impressed by the works of Alexander Archipenko and Paul Cézanne at the Venice Biennale. He was also deeply affected by African and Egyptian art and by the masterpieces of Giotto and Tintoretto. In 1922, Giacometti settled in Paris, making frequent visits to Stampa, and occasionally attended Antoine Bourdelle’s sculpture classes.
In 1927, the artist moved into a studio with his brother, Diego, his lifelong companion and assistant, and exhibited his sculpture for the first time at the Salon des Tuileries, Paris. His first show in Switzerland, shared with his father, was held at the Galerie Aktuaryus, Zurich, in 1927. The following year, Giacometti met André Masson, and by 1930 he was a participant in the Surrealist circle until 1934. His first solo show took place in 1932 at the Galerie Pierre Colle, Paris. In 1934, his first American solo exhibition opened at the Julien Levy Gallery, New York. During the early 1940s, he became friends with Simone de Beauvoir, Pablo Picasso, and Jean-Paul Sartre. From 1942, Giacometti lived in Geneva, where he associated with the publisher Albert Skira.
He returned to Paris in 1946. In 1948, he was given a solo show at the Pierre Matisse Gallery, New York. The artist’s friendship with Samuel Beckett began around 1951. In 1955, he was honored with retrospectives at the Arts Council Gallery, London, and the Solomon R. Guggenheim Museum, New York. He received the Sculpture Prize at the 1961 Carnegie International in Pittsburgh and the Grand Prize for Sculpture at the 1962 Venice Biennale, where he was given his own exhibition area. In 1965, Giacometti exhibitions were organized b
ROBERT GOODNOUGH was born in in 1917 in upstate Cortland, New York. In a career that lasted more than half a century, Goodnough eluded the neat categories that art critics relied on to codify the work of the Abstract Expressionists. He moved among the second-generation members of the school but at the same time stood apart, and his work — kinetic, calligraphic dashes of primary colors in his early career, and subtle pastels beginning in the 1970s — often flirted with figuration.
Though he later evolved into a full-blown abstractionist, while at Syracuse University, he worked realistically from casts and from life. His move toward abstraction began with study with Amedee Ozenfant and Hans Hofmann in New York City, 1946-1947.
Goodnough would later teach at Cornell University in Ithaca, New York, New York University and the Fieldston School in New York City. He also served as an art critic for Art News Magazine from 1950 to 1957. Goodnough became another of the tens of thousands of artists caught up in the Cubism of Pablo Picasso. He was also attracted by the stark abstractions Piet Mondrian. He combined these styles in the 1950s with that of Hofmann, his teacher, in a hybrid of Cubism and Abstract Expressionism. Since that time, like so many other abstractionists, Goodnough has been influenced by many abstract directions in art, including collage, sculpted constructions of birds and figures, and hard-edge paintings in the 1950s and 60s. From the 1970s, Goodnough has painted very large, geometric, abstract canvases.
Goodnough’s earlier work, influenced by Mondrian, Matisse and Synthetic Cubism, deployed patches and strokes of paint that suggested tumult and frenetic activity. “Some of his thicket-like designs throb with the fervor of an old symbolic representation of the Burning Bush, while others have the formal, explicit robustness of Léger,” Stuart Preston wrote in a New York Times review of a 1962 show.
In violation of abstractionist orthodox
ARSHILE GORKY was born Vostanik Manoog Andoyan in 1904 near Van, Turkey. was a preeminent American Modernist artist of Armenian descent. His diverse body of was a unique conflation of the Surrealist, Cubist, and Expressionist artistic styles. His innovative stylistic fusion prepared the way for the emergence of Abstract Expressionism in its various artistic forms.
Many of Gorky's works were also very personal in their content, reflecting on the artist's traumatic past as a genocide survivor. As a child, the artist survived the genocide of the Armenian people by the Ottoman Turks. With his family displaced and dispersed en route to the Russian-controlled Armenia, his mother died of starvation in Gorky's arms in 1919. His father, however, had escaped the Turkish military draft by moving to the United States in 1910 and settling in Providence, Rhode Island. Gorky would join his father in 1920 at the age of sixteen after leaving the war-ridden territory of the collapsed Russian Empire. The painful nostalgic sentiments for the lost homeland remained a prominent theme in Gorky's oeuvre.
Gorky remained largely a self-taught artist before his immigration to the United States. Here he enrolled in the New School of Design in Boston, which he attended from 1922 to 1924. The new land also provided for the artist's initial exposure to the modernist artistic discourse, for which the founding fathers, such as the French Post-Impressionist painter Paul Cézanne, would exercise a great deal of influence. Around 1925 Gorky moved to New York where he swiftly penetrated the emerging artistic milieu and enjoyed an expansive introduction to groundbreaking innovations of Pablo Picasso as well as the early work of Joan Miró.
It was in New York where Gorky met and developed a personal and artistic friendship with such artists as Stuart Davis, John Graham, and fellow émigré Willem de Kooning. New York's climate of constant artistic exchange proved auspicious for the formation of
DAVID HOCKNEY was born on 9 July 1937 in Bradford, England to a working class family.
David Hockney is an important contributor to the British Pop Art of the 1960s, he is considered one of the most influential artists of the twentieth century. His style is distinctive, varied and at times very colourful, representational and abstract. Many of his works are autobiographical in nature.
In the early 60’s he was a prize-winning student at the Royal College of Art. There he met fellow artists who became stars of the British Pop Art Scene. By his mid-20s, Hockney had his first one-man show.
Hockney worked in many fields as a painter, illustrator, printmaker, photographer and designer. He is also known for his exuberant personality, recognizable with his trademark circular specs. Although he rejected the label 'Pop', his work contains references to popular culture and humour. The Californian swimming pool was one of his favourite subjects, indicating his love-affair with Los Angeles.
In the 70’s he became more focused on portraiture and printmaking, often of homoerotic themes. He designed sets for stage productions such as Stravinsky's 'The Rake's Progress' and Mozart's 'The Magic Flute'. In the 80’s he experimented with complex photomontages. He also published two books on art, ‘David Hockney on David Hockney’ and ‘That's the Way I See It’.
David Hockney has exhibited widely and internationally for many years. His works are found in the world's most important fine art institutions. He maintains residences in both Britain and California.
SELECTED PUBLIC COLLECTIONS
Cleveland Museum of Art, OH
Kemper Museum of Contemporary Art, Kansas City, MO
Los Angeles County Museum of Art, Los Angeles, CA
Museum of Contemporary Art, Los Angeles, Los Angeles, CA
Royal Academy of Arts, London, UK
Smithsonian American Art Museum, Washington, DC
The British Museum, London, UK
Thyssen-Bornemisza Museum, Madrid, Spain
Victoria and Albert Museum Catalogue, London, UK
Art Institute of Chicago, Chicago, IL
Fine Arts Museums of San Francisco, San Francisco, CA
Hirshhorn Museum and Sculpture Garden, Washington, DC
J. Paul Getty Museum, Los Angeles, CA
Museum of Fine Arts, Houston, TX
National Galleries of Scotland, Edinburgh, Scotland
National Gallery of Art, Washington, DC
National Gallery of Australia, Canberra, Australia
Royal Academy of Arts Collection, London, UK
The Royal Collection, London, UK
HANS HOFMANN was a German-American, born in Weissenberg, Bavaria on March 21, 1880 and died in New York on February 17, 1966 at age 85.
Hans Hofmann was enormously influential as both a teacher and a painter. He is often cited as one of the key figures of Abstract Expressionism. He always maintained that his paintings were all about painting as a medium and as such each brushstroke, line, colour and so on was loaded with meaning and purpose.
Hofmann was raised in Munich where he studied at various art schools. From 1904 to 1914 he lived in Paris where he met many of the leading figures of Fauvism, Cubism and Orphism (a movement similar to Cubism practised by Robert Delaunay and others). In 1915 he set up an art school in Munich and went on to teach there for 17 years. Two years after emigrating to the US, he established the Hans Hofmann School of Fine Arts in New York in 1934. Then a year later began a summer school at Provincetown, Massachusetts.
In 1958 after gaining a huge reputation as a teacher, he took up abstract painting full-time. He worked in many different styles but is best known as the pioneer of drip painting more popularly associated with Jackson Pollock. Later his paintings were to feature large rectangular blocks of solid colour on a fragmented background.
"Depth in a pictorial plastic sense is not created by the arrangement of objects one after another toward a vanishing point, in the sense of Renaissance perspective, but on the contrary by the creation of forces in the sense of push and pull." Hans Hofmann.
JENSEN, Alfred Julio
ALFRED JENSEN was an American painter and printmaker, born in Guatemala December 11, 1903. Of Polish, German and Danish heritage, he started school in Denmark and completed high school in San Diego, CA, after working as a seaman and as a farmer in Guatemala. He eventually decided to train as a painter, studying at the San Diego Fine Arts School in 1925 and with Hans Hofmann in Munich in 1926–7. He settled permanently in the USA only in 1934. The patronage of Saidie Alder May (d 1951), a wealthy woman whom he met in 1927 as a fellow student of Hofmann, made it possible for him to dedicate himself to the study of colour theory (especially that of Johann Wolfgang von Goethe), Mayan and Inca cultures, science, mathematics and philosophy. Much of this knowledge was later transposed into complex, diagrammatic pictures such as Family Portrait (1958) and The Great Mystery II (1960; both Buffalo, NY, Albright–Knox A.G.), which are characterized by grid structures of tiny squares in bright opaque colours. Although there is sometimes a superficial resemblance between works by Jensen and the use of particular motifs by other artists—for example the colour circles of Robert Delaunay and Sonia Delaunay or the numbers of Jasper Johns—his purpose in using such forms and symbols was highly personal, bordering on the metaphysical. The complexity of the relationships of colour was paralleled by mathematical sequences which reflected Jensen’s interest in magical numerical systems. In works of the 1970s, such as Doric Order (1972; Pittsburgh, PA, Carnegie), he returned to the use of repeated signs, letters and especially numbers, which he had first used around 1960. Jensen died in Livingston, New Jersey on April 4, 1981.
John Heller Gallery, New York. Alfred Jensen: Experiments in Color, March 17-29.
Tanager Gallery, New York. Al Jensen: Paintings, October 21-November 10.
Bertha Schaefer Gallery, New York. Recent Oils by Alfred Jensen, November 11-30.
Martha Jackson Gallery, New York. First Exhibition of Murals, April 22-May 18.
Martha Jackson Gallery, New York. Alfred Jensen and the Image of the Prism, November 24-December 12.
Martha Jackson Gallery, New York. Magic Square, January 17-February 11.
The Solomon R. Guggenheim Museum, New York. Alfred Jensen, August 30-October 8.
Farleigh Dickinson University, Madison, New Jersey.
Graham Gallery, New York. Duality Triumphant, March 5-30.
Kornfeld & Klipstein, Bern. Alfred Jensen, October-November.
Graham Gallery, New York. Divine Analogy and Time Reckoning, November 5-December 7
Kunsthalle, Basel. Alfred Jensen (with Franz Kline), January 31-March 1.
Rolf Nelson Gallery, Los Angeles. Alfred Jensen, February 10-March 7.
Stedelijk Museum, Amsterdam. Alfred Jensen, May 15-July 5.
Graham Gallery, New York. Alfred Jensen, March 30-April 24.
Rolf Nelson Gallery, Los Angeles. A Pythagorean Notebook, October 25-November 20.
Galerie Renée Ziegler, Zurich. Alfred Jensen, March 31-April 30.
Royal Marks Gallery, New York. Works of Graphic/Alfred Jensen, April 19-May 4.
Cordier & Ekstrom, Inc., New York. The Acroatic Rectangle, February 6-March 2.
Royal Marks Gallery, New York.
Martha Jackson Gallery, New York. Treasures from Inventory III, January 16-31.
Cordier & Ekstrom, Inc., New York. Alfred Jensen, February 13-March 16.
J. L. Hudson Gallery, Detroit, Michigan. Alfred Jensen: The Acroatic Rectangle, May 14-June 8.
Cordier & Ekstrom, Inc., New York. The Aperspective Structure of a Square, March 11 -April 4.
The Pace Gallery, New York. Alfred Jensen, Painting
LESTER JOHNSON was born in 1919, in Minneapolis, Minnesota. He studied at the Minneapolis School of Art, the ST. Paul Art School, and The School of the Art Institute of Chicago from 1942 to 1947. In 1947, Johnson moved to New York to pursue a career in art. There, he was embraced by the bustling bohemian lifestyle of SoHo. He worked as the artist-in-residence at the University of Wisconsin, and as a professor of painting at Yale University in New Haven, Connecticut. In 1969, Johnson was promoted to the position of Director of Studies for Graduate Painting at the School of Art and Architecture at Yale University.
Upon moving to New York, Johnson encountered the Abstract Expressionist movement. He was drawn to their democracy of subject matter, freedom of movement on the canvas and “All-Over” painting style. An associate of the collective, he was voted into the Eighth Street Club (the famous weekly gathering of the Abstract Expressionists). Johnson painted the joys and sorrows of the everyman on the streets of New York. His boxy figures were rendered sensually. Areas were applied with thick impasto or thin washes; paint was either clumped or dripping. Johnson would scratch on the human features.
Johnson had two distinctive fazes of his art practice. His earlier faze , which occurred in the 1960s, focused on isolated and embattled lonely human figures. They appeared still or stumbling, and always broken. The expressions on these figures were stoic or grimly defiant. These works featured loose and versatile expressionist brushstrokes. They were highly painterly. These techniques allowed for the emergence of the life and vigor captured within the collection of grave and solitary subjects. His “All-Over” technique created the illusion that the people were being confronted with brutal external forces. They were compressed from all sides by their environment.
Later, Johnson abandoned his scenes of isolation to paint to bustle of crowds. The figures were ren
Roger Joseph Jourdain
ALEX KATZ is an American painter, sculptor and printmaker, born in Brooklyn, New York on July 24, 1927. He studied (1946–50) in New York and in Skowhegan, ME. In the early 1950s he was influenced by the work of Jackson Pollock and other Abstract Expressionists and produced swiftly executed pictures of trees as well as various works based on photographs. In the mid-1950s, working from life, he painted spare, brightly coloured works of landscape, interiors and figures and soon afterwards also produced simplified images in collage. These early works emphasized the flatness of the picture plane while remaining representational, and this insistence on figuration placed him outside the contemporary avant-garde mainstream, in which abstraction and chance were key qualities. He developed his style in the portrait works of ordinary people from the late 1950s, such as Ada with White Dress (1958). This resolution of the demands of formalism and representation looked forward to the Pop art of the following decade. In the 1960s Katz’s works became more realistic and were executed in a smoother, more impersonal style, as in Frank and Sheila Lima (1965). Though concentrating on figures in interiors and in urban environments, he also painted a number of landscape and flower pieces, such as White Petunia (1968). After experimenting with the technique in the late 1950s, from the mid-1960s he made a number of free-standing cut-out figure works painted on wood or aluminium, such as Rudy and Edwin (1968). Similarly, after early forays in the 1950s, Katz concentrated more on printmaking in the 1960s, making very simplified lithographs and screenprints, such as the screenprint Row Boat (1966). After the 1960s he continued producing similar figure paintings, such as Night (1976), as well as prints. He achieved great public prominence in the 1980s, and among the works of that decade were a number of multi-panel paintings, such as Pas de deux (1983)
Also represented by:
JANET LAGE is a contemporary visual artist born 1955, in Fall River, Maine who studied at University of Maine, Maine Film Alliance and Hartford Art School. She lives in the New York Metropolitan area with a base studio in Old Lyme, Connecticut. She travels to the West Indies yearly and paints in her Ocho Rios Jamaica workspace. In 2010 she was awarded a Connecticut Artist Fellowship Award for painting, for the years 2010-2011. Her work is represented in numerous private and corporate collections and has been a recipient of multiple competition awards jurored by senior curators from the MOMA, Guggenheim, Whitney and other national museums.
2014 EBK Gallery, Hartford, CT
Amy Simon Fine Art, Westport, Ct, Out of Line William-Scott Gallery, Provincetown, MA, TRASHED
2013 The Orison Project, Essex, CT, TRASHED
2012 Garrison Art Center, Garrison, NY, Recent Paintngs William-Scott Gallery,Provincetown, MA, STICK IT
2011 Sarah Doyle Gallery, Brown University, Providence, RI, HOSE ME EO Art Lab, Chester, CT, STICK IT
2010 William-Scott Gallery, Provincetown, MA
2009 EO Art Lab, Chester, CT, Hose Me
2007 EO Art Lab, Chester, CT, Laid Rubber Diane Birdsall Gallery, Old Lyme,CT, Tie Me Down
2006 Diane Birdsall Gallery, Old Lyme, CT, Leaners and Hangers
2004 University of Connecticut, Avery Point, Alexey Von Schlippe Gallery of Art, Landscape
2002 University of Connecticut, Avery Point, Alexey Von Schlippe Gallery of Art,New Paintings
2000 University of Connecticut, Avery Point, Alexey Von Schlippe Gallery of Art, The C Word
1995 Viridian Gallery, New York, NY, Mixed Landscape
1991 Queens College Art Center, Queens, NY, Between Something and Nothing Pump House Gallery, Hartford, CT, Between Something and Nothing
1988 Bratton Gallery, New York, NY, Yesturday I Found My Soul
1986 Cummings Art Center, Connecticut Collage, New London, CT, Illuminated Paintings Artworks Gallery, Hartford, CT, Illuminated Paintings
2011 Housatonic Museum of Art, SLASH, group exhibition
2000 Stamford Museum and Nature Center,Stamford, CT (Juror: Lauren Ross, White Columns Gallery, NY, NY, NEW ART ANNUAL 2000)
1997 Stamford Museum and Nature Center,Stamford, CT Solo Show Award (Juror: Ann Philbin, Director of The Drawing Center NY, NY, New Art Annual 1997)
1996 Stamford Museum and Nature Center,Stamford, CT 4 Winners Stamford Museum and Nature Center,Stamford, CT (Juror: Jill Snyder, Director of the Aldrich Museum of Contemporary Art in Ridgefield, CT, New Art Annual 1996)
Stamford Museum and Nature Center,Stamford, CT( Juror: Dorothy Mayhall, Director, Stamford Museum and Nature
Henri Lebasque was born in 1865, in Champigné, France. He studied painting at the Ecole des Beaux Arts, in Paris. There, he began to exhibit with several renowned artistsʼ associations of the time such as "Les Nabis" (the prophets) and the "Intimists." Lebasque frequently participated in the acclaimed Salons of Paris. In 1903, Labesque was instrumental in the formation of "Salon d'Automne" with his close friend Henri Matisse. This Salon hosted the débuted exhibition of "Les Fauves" (wild beasts).
In the early years of his career, Lebasqueʼs primary influences ranged from Luce to Seuratte. His painting were created using pointillism as a predominant technique. The artist displayed his background in colour theory through the use of complementary colours in shading. In the early 1900ʼs, Lebasque was exposed to Fauvism. The Fauvistsʼ painterly qualities and bright colours profoundly inspired him. Lebasque began to incorporate flatness of form and wild colour choices into his own works.
In 1924, Lebaque moved to the French Riviera to pursue a continued education in visual arts. The move catalyzed a thematic transition and a radical change in his colour palatte. The artist refocused his attention to paint scenes of light and cheer. This included a prevalence of subject matter pertaining to the artistʼs own family and the vegetation of Saint Tropez.
Lebasqueʼs paintings are praised for their wide range of bright colour and intimacy with the subject matter. They exude liveliness and optimism. Throughout his years of practice, Lebasque cultivated a reputation in the art world as, "the painter of joy and light". In 1937, Henri Lebasque died in Le Cannet, Alpes Maritimes.
ROBERT LONGO was born in Brooklyn, NY, on January 7, 1953.
1975 Attended State University College, Buffalo, New York, BFA
Robert Longo was born in Brooklyn, New York and raised on suburban Long Island where as a youth he participated in various arts activities from a very young age. Longo developed an early fascination with all forms of mass media; especially movies, television, magazines, and comic books. These hallmark influences are still incorporated into the art work that he is producing today.
In order to create his works Longo first projects photographs of his subjects onto paper and traces the figures in graphite, stripping away all details of the background. After he records the basic contours, his assistant(s) continues work on the figure for about a week, filling in the details. Next, Longo goes back into the drawing, using a combination of graphite and charcoal, to provide as he says, "all the cosmetic work." At this point, he makes a number of changes in the figure and continues to work on the drawing until, about a week later, it is completed.
CONRAD MARCA-RELLI was born Corrado Marcarelli on June 5, 1913 in Boston, Massachusetts and died on August 29, 2000 in Parma, Italy at age 87.
Marca-Relli was known for his Cubist and Abstract Expressionist style of collages as well as paintings. He lived for most of his professional life in New York City but was an inveterate and enthusiastic world traveler. Because his father was a news commentator and journalist, he made many trips to Europe as a child. He began to draw at an early age and his parents encouraged him to the extent that he received his first art lessons in Italy. Upon returning to New York City, he completed his education at night in order to devote more time to painting.
In 1926, he settled in New York City where he studied at various schools including Cooper Union. From 1935 to 1938, he was a WPA artist with the Federal Art Project which gave him the time to devote his energy to developing and experimenting with his art. It also brought him into contact with other New York artists such as Willem de Kooning, Jackson Pollock, and Franz Kline. After his service in World War II, he returned to Europe to paint. These paintings were later exhibited in New York City at the Niveau Gallery.
Returning to New York, he continued with a style of controlled sharp edged shapes. On a trip to Mexico in 1953, he was impressed by the contrasts between the white adobe buildings and the black shadows from the luminous sun. Marca-Relli was completely consumed by this sight and, according to his mythology, when he ran out of paint, he began gluing material and paper in order to achieve a greater incisiveness of the borders. He immediately found that collage provided the density and texture he sought. These early collages were created from segments of either raw canvas or natural linen, cut out with razor blades. They were pinned to the supporting canvas after being coated with a mixture of paint and glue. Soon he introduced volumes of color to his work. In 195
RENE MARCIL was born in Montreal in 1917. He began to study art production at L'Ecole des Beaux Arts in Montreal at the age of fourteen. He had a partly atrophied right arm was required to undergo a major surgery which left him with a limp. In order to escape from a troubled childhood and tumultuous relationship with his family, Marcil poured over the works of Raphael and Da Vinci.
After graduating he pursued work in the fields of advertising and illustration. In 1941, he moved to New York with his wife. There, he gained recognition for the line, style and elegance of his fashion drawings. His drawings were given daily spot in the New York Times. Marcil moved to Paris in 1952, where he embraced the longstanding European traditions of large abstract oil paintings and figure drawings. He became a member of "La Grande Chaumière", a studio space shared by a collection of Paris School artists. He spent a brief period of time in England before eventually settling in the French village of Tourrettes-sur-Loup.
Marcil utilized his practice as therapeutic tool. Some phases of his work cross into outsider territory. His paintings and drawings range from calculated and academic to furious and free-associated. Many earlier works display posed women, while later in life, his non-illustrative ideas and images explode in a frenzy of activity. Marcilʼs talent in colouration was his main mode of expression. His works display comfort and skill with a wide variation of colour schemes. This is evident in the artfully layered skin tones of his human forms and the wild juxtaposition of colour blocks in his abstract pieces. He alternated from muted nudes to vivid abstractions. Both display a masterfully expressive use of shape and line.
Marcil maintained a frugal bohemian lifestyle with a commitment to noncommercial art. He died in Toronto, ON from a heart attack on September 25th, 1993.
AGNES MARTIN was born in 1912 in Maklin, Saskatchewan, Canada, and grew up in Vancouver, British Columbia. She came to the United States in 1932 and lived in Washington and Oregon until 1940. Martin studied at Western Washington State College, Bellingham, and the University of New Mexico, Albuquerque. She received her BS and MA from Teachers College, Columbia University, New York and taught at public schools in Washington, Delaware, and New Mexico during the late 1930s and the 1940s, at the University of New Mexico in the late 1940s, and at Eastern Oregon College, La Grande, in 1952–53. She became a United States citizen in 1950.
Martin lived and taught periodically in New York in the 1940s and early 1950s. In 1957, she settled in Coenties Slip in lower Manhattan, where her friends and neighbors included Robert Indiana, Ellsworth Kelly, and Jack Youngerman. In 1958, her first solo show took place at Section Eleven of the Betty Parsons Gallery, New York. By the late 1950s, Martin’s landscape and figurative watercolors, surrealistic oils, and three-dimensional sculptural objects were supplanted by her highly simplified abstractions. These mature works—distinguished by square formats, grids, lines drawn on canvas, and monochromatic color with subtle variations in hue—have been an important influence for younger artists. In 1966, her work was included in the exhibition Systemic Painting at the Solomon R. Guggenheim as representative of the Minimalist art current in New York.
After Martin left New York and moved to Cuba, New Mexico, in 1967, she did not paint for seven years. However, she returned to painting in 1974 and produced a number of works in which she replaced neutral tones with brighter color. After 1973, she exhibited regularly and major traveling exhibitions of her work have been organized by the Institute of Contemporary Art at the University of Philadelphia (1973), Hayward Gallery in London (1977), Stedelijk Museum in Amsterdam (1991), Whitney
JOAN MIRO was born Joan Miró Ferra on April 20, 1893, in Barcelona (Catalan). At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917 he met Francis Picabia.
In 1920 Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924 Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. That year he also executed his first papiers collés (pasted papers) and collages. In 1929 he started his experiments in lithography, and his first etchings date from 1933. During the early 1930s he made Surrealist sculptures incorporating painted stones and found objects. In 1936 Miró left Spain because of the civil war; he returned in 1941. Also in 1936 Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year he was commissioned to create a monumental work for the Paris World’s Fair.
Miró’s first major museum retro
KENNETH NOLAND was born in Asheville, North Carolina, in 1924. Interested in painting since age 14, he enrolled at Black Mountain College, just 15 minutes from his hometown, after his requisite service in the Air Force ended in 1946. Well-known at the time as a collective-based, experimental program directed by the former Bauhaus teacher Josef Albers, the school was ideal for Noland and his brothers, all beneficiaries of the G.I. Bill who shared an interest in art, literature, and jazz. His two years of studies with Ilya Bolotowsky sealed his dedication to color and abstraction.
Noland had his first solo exhibition at Galerie Raymond Creuze in Paris after moving there in 1948 to study for a year with sculptor Ossip Zadkine. He then joined family in Washington, D.C., and started teaching at the now defunct Institute of Contemporary Art (ICA). In 1950 he revisited Black Mountain College to participate in its legendary summer courses, and this period is when critic Clement Greenberg introduced him to Abstract Expressionism. After the ICA dissolved in 1951, Noland taught at the Catholic University of America, Washington, D.C., until 1960 and led night courses at the Washington Workshop Center for the Arts. During this time, he formed important friendships with Morris Louis, a fellow workshop teacher, and the established sculptor David Smith, whom he met through his first wife, Cornelia Langer, the mother of artist Cady Noland, one of Noland's four children.
During a trip to New York in 1953, Noland and Louis visited Helen Frankenthaler's studio with Greenberg. Both artists returned home inspired by her technique of applying thin washes of color to unprimed canvas. In 1957 Noland had his first American solo exhibition at the Tibor de Nagy Gallery in New York. Two years later, at the French & Company Gallery, also in New York, he exhibited his concentric circle paintings on square canvases. By 1960, after fully adapting the color-staining method to their own styles,
CLAES OLDENBERG was born in Stockholm, Sweden, in 1929. After living in New York City, Rye, New York, and Oslo, Norway, he moved to Chicago in 1936. Oldenburg attended Yale University from 1946 to 1950 and became an American citizen in 1953. Following work as an apprentice reporter at the Chicago City News Bureau and studies at The Art Institute of Chicago, he settled permanently in New York City in September 1956.
Using as his subject matter the common and commercial objects in his urban surroundings, especially the city’s Lower East Side, Oldenburg established himself at the beginning of the 1960s with a series of installations and performances, among them The Street (1960), The Store (1961), and Ray Gun Theater (1962), which contributed significantly to the emergence of American Pop art. During a stay in Los Angeles in 1963, he focused on subjects inspired by what he called The Home, including the installation Bedroom Ensemble (1963). He went on to create performances in Los Angeles (Autobodys, 1963), Chicago (Gayety, 1963), Washington, D.C. (Stars, 1963), New York (Washes and Moveyhouse, 1965), and Stockholm (Massage, 1966). In 1964, after showing sculptures based on European edibles in Paris, he returned to New York and, continuing to use ordinary, everyday objects as his means of expression, developed "soft" sculptures and fantastic proposals for buildings and civic monuments.
At the end of the decade, Oldenburg took up fabrication on a large scale with Lipstick (Ascending) on Caterpillar Tracks (1969), which became a controversial focus for student protest when it was installed on the campus of Yale University, followed by other works such as Geometric Mouse (1969), Giant Ice Bag (1970), Giant Three-Way Plug (1970), Standing Mitt with Ball (1973), and Alphabet/Good Humor (1975). His first sculpture to be realized in urban scale, the 45-foot-high Clothespin, was installed in downtown Philadelphia in 1976. Soon thereafter, he began working with Coosje v
RAYMOND PARKER was born in 1922 in Beresford, South Dakota. He studied painting at the University of Iowa and received his Master of Fine Arts degree in 1948. Parker began his professional career as an art instructor at the University of Minnesota and in 1955 began his tenure at Hunter College in New York, where he remained until his retirement. Parker’s distinctive style emerged in 1958 when he exhibited a group of outsized works that measured six feet square with surfaces filled with large color shapes floated against neutral backgrounds. Color dominates Parker’s works, and it is used both as form and for expression, as in the work of fauve painters early in the century.
Throughout his career Parker used color as a point of departure, but as his style developed during the 1960s, his compositional forms became increasingly geometric. Parker did not use the clear geometries of cubism, but instead gave the massive colored shapes that dominate his compositions rough, unfinished outlines. The predominant style of Parker’s paintings of the 1960s is seemingly improvisational in his layering and clustering of forms in varied tones, relationships, and sizes. During the 1970s, Parker introduced lines into his canvases, intermixing linear elements with irregular shapes to create simple, dramatic, highly colored compositions, such as his large painting, Untitled (1979) in The Phillips Collection. Over the course of his career, Parker’s works were shown in numerous solo and group exhibitions across the United States.
Ray Parker died in 1990 at age 66, in New York, New York.
ELIZABETH PEYTON was born in Connecticut in 1965. She studied at the School of Visual Arts, New York. Her work is collected by leading museums including Musée national d’art moderne de la ville de Paris, Centre Georges Pompidou, Paris; Kunstmuseum, Wolfsburg; Museum für Gegenwartskunst, Basel; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Seattle Art Museum; and Walker Art Center, Minneapolis. Recent solo exhibitions include “Live Forever”, New Museum of Contemporary Art (2008, traveled to Walker Art Center, Minneapolis, Whitechapel Art Gallery, London, and Bonnefanten Museum, Maastricht, Holland in 2009); “Reading and Writing”, Irish Museum of Modern Art (2009); “Wagner” at the Gallery Met, New York (2011) and “Ghost: Elizabeth Peyton,” presented concurrently at the Mildred Lane Kemper Art Museum and the Opelvillen in Rüsselsheim, Germany (2011). Peyton lives and works in New York and Berlin.
MIRIAM SCHAPIRO, painter “femmagist”, sculptor, printmaker, was born in Toronto, Canada in 1923 and lived and worked in New York and California. She received her BA in 1945, MA in 1946 and MFA in 1949 at the University of Iowa in Iowa City. She is a renowned artist and teacher, the recipient of six honorary doctorates, and has been the subject of numerous doctoral and masters degree dissertations. She is known as a leader in two art movements: the “Feminist Art Movement” and “Pattern and Decoration.”
She has received many honors and awards including The National Endowment for the Arts Fellowship, the Ford Foundation Grant, the John Simon Guggenheim Memorial Foundation Fellowship, the Skowhegan Medal for Collage and the Rockefeller Foundation Grant for Artist’s Residency at the Bellagio Study and Conference Center in Italy. Ms. Schapiro has been honored by the National Association of Schools of Art, and the National Women’s Caucus for Art. She was awarded a Lifetime Achievement Award from the College Art Association and the Harrison-Hooks Artist Lifetime Achievement Award from the Polk Museum of Art, Lakeland Florida. The Miriam Schapiro Archives for Women Artists at Rutgers University was established in January 2006. In March 2006, Ms. Schapiro was awarded The Elan Award from the Women’s Studio Center, New York.
Her work appears in numerous museum collections in the United States, Europe, Australia and Israel including the Metropolitan Museum of Art, NYC; The Museum of Modern Art, NYC; The Whitney Museum of American Art, NYC; The Brooklyn Museum, NYC; The Hirshorn Museum and Sculpture Garden, Washington DC; The National Gallery of Art, Washington DC; The National Museum of American Art, Smithsonian Institution, Washington DC; The Milwaukee Art Museum, Milwaukee, WI; Museum of Fine Arts, Boston, MA; The Orlando Museum, Orlando FL; The Polk Museum of Art, Lakeland, CA; Louisiana Museum, Denmark; Art Gallery of New South Wales, Australia; The Is
JERRY SCHATZBERG was born in the Bronx, New York in 1927. He attended the University of Miami. His started his career as a freelance fashion photographer as assistant to Bill Helburn in the 1950's. He was published in magazines such as Vogue, McCalls, Esquire, Glamour, Town and Country, and Life throughout the 1960's.
Schatzberg reinvented the formal conventions of his time. Influenced by New Wave films from Europe, his early work is characterized by a cinematic atmosphere with an emphasis on location, wide shots, and odd angles, to convey action, scale, and mood. Through engagement with his subjects, he built character and story with visual gestures and cues.
His rise as a world-class portrait photographer is marked by his intimate and emblematic images of emerging talents and thinkers of the 1960’s, including Bob Dylan, Fidel Castro, The Rolling Stones, Andy Warhol, Faye Dunaway, Catherine Deneuve and many others.
Schatzberg made his directorial debut in the 1970’s with ‘Puzzle of a Downfall Child’ starring Faye Dunaway, which was soon followed by ‘The Panic in Needle Park’ starring Al Pacino. Gene Hackman co-starred with Pacino in ‘Scarecrow’, which won the Golden Palm at the Cannes Film Festival in 1973.
EXHIBITIONS : Solo & Retrospectives (selected)
2014 ART BASEL MIAMI, Nikola Rukaj Gallery
2014 TORONTO INTERNATIONAL ART FAIR, Nikola Rukaj Gallery
2013 ART BASEL MIAMI, Nikola Rukaj Gallery
2013 ART SOUTHHAMPTON, N.Y., Nikola Rukaj Gallery
2013 CONTACT Photography Festival, Toronto, "Schatzberg"
2013 AIPAD, Steven Kasher Gallery, N.Y.
2011 MUSEE MAILLOL, Banyuls Sur Mer, France,"Bob Dylan"
2009 INSTITUT LUMIERE, Lyon Film Festival, Lyon, France
2008 PROUD GALLERY, London, U.K., "Bob Dylan"
2006 LE GRAND PALAIS, Paris, France, "Bob Dylan"
2006 GALLERIE LUC BELLIER, Paris, France, "Bob Dylan"
2006 ATLAS GALLERY, London, U.K., "Jerry Schatzberg: Photographs" Retrospective
2004 SOFIA FILM FESTIVAL BULGARIA, Sredetz Gallery
2003 JANOS GAT GALLERY, N.Y.,“Behind the Scene, a Collection”
2003 STALEY/WISE, N.Y., “Homonym”
2002 HELLENIC AMERICAN UNION Athens, Greece, Retrospective
2002 MUSEUM OF CINEMA, Torino, Italy, Retrospective
2002 ALBA INTERNATIONAL FILM FESTIVAL, Retrospective
2001 INTERNATIONAL THESSALONIKI FILM FESTIVAL, Greece
2000 DINA VIERNY, Paris, France, Retrospective
1999 PAMUKBANK FOTOGRAF GALERISI, Istanbul, Turkey
1996 STALEY/WISE N.Y., Retrospective
1985 ALLIANCE FRANCAIS N.Y., “Behind The Scene, a Collection”, Retrospective
1983 CENTRE POMPIDOU, Paris, France, Retrospective
BOOKS by Jerry Schatzberg
"WOMEN THEN: Photographs 1954-1969" [Hardcover]
by Julia Morton (Author) , Jerry Schatzberg (Photographer) , Gail Buckland (Preface) published by Rizzoli, 1st edition (October 12, 2010)
"PARIS 1962: Yves Saint Laurent and Dior, Christian Dior, The Early Collections" [Hardcover]
Jerry Schatzberg (Author), Julia Morton (Author), Patricia Bosworth (Introduction) published by Rizzoli, 1st edition (April 29, 2008)
"THIN WILD MERCURY: Touching Dylan's Edge" [Hardcover]
Jerry Schatzberg (photographer) published by Genesis Editions, collector & deluxe edition (2006)
AARON SISKIND was born December 4, 1903 in New York City. He attended school in New York City at De Witt Clinton High school and went to City College for Literature. In 1929, Siskind married Sidonie Glaller and received his first camera as a honeymoon gift.
From 1926 to 1947 Siskind was an English teacher in the New York City public school system, and during this time he was an active member of the New York Workers' Film and Photo League. He took care to reorganize the League and establish the Feature Group, a documentary production unit. Siskind also produced both group and independent photo-series including: The Catholic Worker Movement; Dead End: The Bowery; The End of City Repertory Theatre; The Harlem Document; Lost Generation: The Plight of Youth Today; The Most Crowded Block in the World; Park Avenue: North and South; Sixteenth Street: A Cross-section of New York; and Tabernacle City.
By the middle 1940's Siskind was working on increasingly symbolic and abstract photographs based on discarded and found objects on Martha's vineyard and in Gloucester, Massachusetts. He forged close and enduring relationships with the artists of the New York School, and in 1945 he published "The Drama of Objects" in Minicam Photography. He would later travel through Greece and Rome.
From the early 1950's and for the rest of his work life, Siskind taught at a number of institutions, including Trenton Junior College, Black Mountain College, Institute of Design, Illinois Institute of Technology, and Rhode Island School of Design. In 1956, Siskind co-published "Learning Photography at the Institute of Design." Later, he became a founder-member of the Society for Photographic Education, a board member of the Gallery of Contemporary Art, Chicago, and a founding member of the Visual Studies Workshop in Rochester. Between 1966 and 1983 Siskind received numerous awards, including the Guggenheim Foundation Fellowship, the Gold Star of Merit award from Philadelphia College of Art,
SOTO, Jesús Rafael
JESUS RAFAEL SOTO was born on June 5, 1923, in Ciudad Bolívar, Venezuela. He studied at the Escuela de artes plásticas in Caracas from 1942 to 1947 and then served as director of the Escuela de bellas artes in Maracaibo, Venezuela, until 1950, at which time he moved to Paris. There he associated with Yaacov Agam, Jean Tinguely, and Victor Vasarely, as well as artists connected to Galerie Denise René and the Nouveau Réalistes (New Realists). Having started out as an illusionistic painter, in 1955 Soto participated in Le mouvement (The Movement) at Galerie Denise René, the exhibition that effectively launched Kinetic art. Around this time, and for many years subsequently, Soto’s art oscillated between geometric and organic forms. His work is often associated with Venezuelan Op art because the serial geometric forms of his paintings of the 1950s bear an affinity to works from that later movement. By 1957 Soto had moved toward a more gestural abstraction, but by 1965 he had returned definitively to a geometric idiom. During the same decade, he began making linear, kinetic constructions using industrial and synthetic materials such as nylon, Perspex, steel, and industrial paint.
Major exhibitions of Soto’s work took place at Signals Gallery, London (1965); Museum of Contemporary Art, Chicago (1971); Solomon R. Guggenheim Museum, New York (1974); and Musée national d’art moderne, Centre Georges Pompidou, Paris (1979). For each of these exhibitions, Soto used swaying nylon thread or plastic string to turn the gallery space into an all-encompassing, kinetic installation, in which the experience of the spectator within the constructed environment was central to the work’s meaning. Soto’s sculptures and environments often play with the juxtaposition of solid and void, deliberately unsettling the act of viewing by blurring the distinction between reality and illusion.
In 1969 UNESCO commissioned Soto to create two murals for their buildings in Paris. Over
CY TWOMBLY was born in 1928, in Lexington, Virginia. From 1948 to 1951, he studied at the School of the Museum of Fine Arts, Boston; Washington and Lee University, Lexington; and the Art Students League, New York, where he met Robert Rauschenberg. At Rauschenberg’s encouragement, he attended Black Mountain College, near Asheville, North Carolina, in 1951 and 1952, where he studied under Franz Kline, Robert Motherwell, and Ben Shahn.
The Kootz Gallery, New York, organized his first solo exhibition in 1951. At this time, his work was influenced by Kline’s black-and-white gestural Expressionism, as well as by Paul Klee’s childlike imagery. In 1952, Twombly received a grant from the Virginia Museum of Fine Arts that enabled him to travel to North Africa, Spain, Italy, and France. Upon his return in 1953, he served in the army as a cryptologist. From 1955 to 1959, he worked in New York and Italy, finally settling in Rome. It was during this period that he began to create his first abstract sculptures, which, although varied in shape and material, were always coated with white paint. In Italy, he began to work on a larger scale and distanced himself from his former Expressionist scribbles, moving toward a more literal use of text and numbers, drawing inspiration from poetry, mythology, and classical history. He subsequently created a vocabulary of various signs and marks, sometimes sexually charged, that read on a metaphorical level rather than according to any form of traditional iconography.
Twombly was invited to exhibit his work at the Venice Biennale in 1964. In 1968, the Milwaukee Art Center mounted the first retrospective of his work. The artist was honored by numerous other shows, including major retrospectives organized by Kunsthaus Zürich (1987), Musée National d’Art Moderne in Paris (1988), Museum of Modern Art in New York (1994), Pinakothek der Moderne in Munich (2006), Tate Modern in London (2008), and Art Institute of Chicago (2009). In 1995,
CHRISTINE VAILLANCOURT was born in 1949 in Detroit, Michigan. She earned her B.A. from the University of North Carolina at Chapel Hill and her M.A. from the Rhode Island School of Design. She continued to study at the School of the Museum of Fine Arts and Kent State University.
Vaillancourt creates works of geometric abstraction inspired by Constructivists, Concrete artists and Mondrian. She expresses a fascination with technology and modern science. Her paintings use the layering of shapes in translucent acrylic mediums to create the illusion of depth.
Vaillancourt was the recipient of the Best in Show Award at the Newport Rhode Island Art Museum in 2003. She currently lives and works in Fort Point Channel (South Boston), Boston, MA.
2013 Attleboro Art Museum, Attleboro, MA, "What Goes Around" National Exhibition.
2009 Provincetown Art Museum, Provincetown, MA, juried exhibition.
2009 Newport Art Museum, Newport, RI.
2004 Newport Art Museum, Newport, RI, one-person exhibition.
2002-04 “Great River Arts Institute” Traveling museum exhibition: Brattleboro Museum, VT; Wood Gallery and Art Center, Montpelier, VT; Griswold Museum, Lyme, CT.
2004 Museum of Fine Arts, Boston, MA.
Juried benefit auction.
1999 Ninth Triennial at the Fuller Museum, Brockton, MA.
1988 Bristol Art Museum, Bristol, RI.
2012 25 Channel Center Gallery, Boston, MA.
2009 35 Channel Center Gallery, FPAC, Boston, MA. curated exhibition
2008 Invitational, Fidelity Investments, Boston, MA.
2007 Invitational, Boston Convention Center.
2007 Three Columns Gallery, Harvard University, Cambridge, MA.
2004 Nikola Rukaj Gallery, Toronto, Canada.
2004 Newport Art Museum, Newport, RI.
2002 Andrea Schwartz Gallery, San Francisco, CA
1999 Creiger-Dane Gallery, Boston, MA.
1996 Creiger-Dane Gallery, Boston, MA.
1992 Arnold Gallery, Newport, RI.
1991 Bromfield Gallery, Boston, MA.
1989 Paul Sorota Fine Arts Gallery, Boston, MA.
1986 Arnold Gallery, Newport, RI.
2008 Diamond-Newman Gallery, Boston, MA.
2000 Gallery Five North, Boston, MA.
1997 Lenore Gray Gallery, Providence, RI.
2009 Provincetown Art Museum, Provincetown, MA.
2008 Audrey Pepper Gallery, Boston, MA.
2008 Andrea Schwartz Gallery, San Franciso, CA.
2007 Toronto International Art Fair, Nikola Rukaj Gallery.
2005 Broadway Gallery, New York, New York, “Engaging the Structural.”
2004 Toronto International Art Fair 2004, Nikola Rukaj Gallery.
2003 Nikola Rukaj Gallery, Toronto, Canada.
2003 Trinity Gallery, Atlanta, GA.
2003 Gallery Materia, Scottsdale, AZ.
2002 Pentimenti Gallery, Philadelphia, PA.
2002 Bickett Gallery, Raleigh, NC.
Tomas VAN HOUTRYVE
TOMAS VAN HOUTRYVE is a photographic artist and author who engages critical contemporary issues around the world.
Initially a student in philosophy, Tomas developed a passion for photography while enrolled in an overseas university program in Nepal. Immediately after graduation in 1999, he devoted himself fully to photojournalism, starting out with the Associated Press in Latin America. He was the first AP photographer to cover the military prison in Guantánamo Bay, Cuba, and in 2002 he traveled to Kandahar to photograph families of the Guantánamo inmates.
Tomas left AP in 2003 to concentrate on large-scale personal projects, starting with the Maoist rebellion in Nepal. The resulting photos of the rebels’ rise to power earned wide recognition including the Visa pour l’Image-Perpignan Young Photographer Award and the Bayeux Prize for War Correspondents.
In 2006 Tomas was named one of PDN’s 30 Emerging Photographers. He was awarded an Alicia Patterson Journalism Fellowship in 2008, and in 2010 he was named the POYi Photographer of the Year.
Tomas’ first monograph book, Behind the Curtains of 21st Century Communism, was published in Spring 2012. The seven-year-long project documents life in the last countries where the Communist Party remains in power: North Korea, Cuba, China, Nepal, Vietnam, and Laos. The series won the 2012 POYi World Understanding Award.
In 2013 Tomas began working on Blue Sky Days, a drone’s-eye view of America. Images from the project were first published in Harper’s as the largest photo portfolio in the magazine’s 164-year history. The series was awarded the 2015 ICP Infinity Award and honors from POYi, World Press Photo, the Photographic Museum of Humanity, and the White House News Photographer’s Association.
Tomas has had solo exhibitions of his work in Paris, New York City, Spain and Italy. His work is included in multiple private collections in Europe, Asia and the United States and in the permanent collec
Blue Sky Days in Bayeux, France Oct-2015
Blue Sky Days in Cortona Italy Jul-2015
Blue Sky Days in Barcelona Jul-2015
Borderline North Korea Nov-2013
Castaways of the Marshall Islands Oct-2012
Behind The Curtains of 21st Century Communism Jul-2012
Behind the Curtains Aug-2010
Behind the Curtain May-2009
Nepal | Rituels & Revolution Feb-2009
AWARDS & DISTINCTIONS
2015 ICP Infinity Award
2015 World Press Photo Award, 2nd
2015 Photographic Museum of Humanity, 1st
2015 White House News Photographers Assoc., 1st
2015 POYi Award of Excellence
2014 TIME's Top 10 Photos of 2014
2014 Aaron Siskind Fellowship Grant
2014 Pulitzer Center Grant
2013 Getty Images Grant
2012 Pulitzer Center Grant
2012 POYi World Understanding Award
2012 Saint Brieuc Festival Grant
2012 IoS Photography Books of the Year
2012 POYi Best Book Award, Finalist
2011 Leica Oskar Barnack Prize, Finalist
2011 Magnum Foundation Grant
2010 POYi Photographer of the Year, 1st
2008 Hearst Fellow, Univ. of Colorado
2008 Amnesty Human Rights Award
2008 Photographer of the Year, 2nd
2008 POYi Award of Excellence
2008 Alicia Patterson Fellowship
2007 Amnesty Human Rights Award
2007 POYi Award of Excellence
2006 Perpignan Young Photographer
2006 Bayeux War Correspondents Prize
2006 POYi Award of Excellence
2006 Days Japan Jury Prize
2006 PDN's 30
ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father was an army officer and an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1920, Vicente entered military school, but left after three months. Eighteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.
Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (with whom he once shared a studio), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman and Ad Reinhardt.
He spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, New York and the University of California, Berkeley, among others institutions.
In addition, he received numerous awards, some of the most prestigious given to an artist in the United States and his works can be found in important collections and museums such as The Metropolitan Museum of Art, New York, New York; The Museum of Modern Art, New York, New York; the Whitney Museum of American Art, New York, New York and the Solomon R. Guggenheim Museum, New York, New York, among others.
At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.
Vicente died at the age of 97 in 2001 in Bridgehampton, New York, 10 days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90’s at his home in Bridgehampton.
ANDY WARHOL was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings. He traveled in Europe and Asia in 1956.
By the early 1960s, Warhol began to paint comic-strip characters and images derived from advertisements; this work was characterized by repetition of banal subjects such as Coca-Cola bottles and soup cans. He also painted celebrities at this time. Warhol’s new painting was exhibited for the first time in 1962, initially at the Ferus Gallery, Los Angeles, then in a solo exhibition at the Stable Gallery, New York. By 1963, he had substituted a silkscreen process for hand painting. Working with assistants, he produced series of disasters, flowers, cows, and portraits, as well as three-dimensional facsimile Brillo boxes and cartons of other well-known household products.
Starting in the mid-1960s, at The Factory, his New York studio, Warhol concentrated on making films that were marked by repetition and an emphasis on boredom. In the early 1970s, he began to paint again, returning to gestural brushwork, and produced monumental portraits of Mao Tse-tung, commissioned portraits, and the Hammer and Sickle series. He also became interested in writing: his autobiography, The Philosophy of Andy Warhol (From A to B and Back Again), was published in 1975, and The Factory published Interview magazine. A major retrospective of Warhol’s work organized by the Pasadena Art Museum in 1970 traveled in the United States and abroad. Warhol died February 22, 1987, in New York at age 58.
1926 - Born, St. Louis, Missouri
1929 - Moved with family to Louisville, Kentucky
1943-44, 1946-47 - Attended University of Missouri
1944-46 - U.S. Navy, University of North Carolina
1947-49 - Ecole des Beaux-Arts, Paris
1949-55 - Lived and worked in Paris
1956 - Returned to the United States
1956-1995 - Lived in New York City
1995-current - Resides in Bridgehampton, New York
ONE MAN EXHIBITIONS:
1951 - Galerie Arnaud, Paris
1958 - Betty Parsons Gallery, New York (1960, 1961, 1964, 1967, 1968)
1959 - Museum of Modern Art, NY, 'Sixteen Americans'
1962 - Galerie Lawrence, Paris (also 1965)
1963 - Galeria dell' Ariete, Milan
Everett Ellen Gallery, Los Angeles, California
The Phillips Collection, Washington, D. C.
1971 - Pace Gallery, New York (also 1972, 1975)
1972 - Portland Center for the Arts, Oregon
Seattle Art Museum, Washington
1973 - The Arts Club of Chicago, Illinois
Galerie Denise Rene, Paris
1975 - Hopkins Center, Dartmouth College, Hanover, NH
1976 - Parrish Art Museum, Southampton, NY
1981 - Washburn Gallery (& 1982, 84, 85, 86, 87, 91, 97, 99, 2001, 03, 06, 09)
Doris C. Freedman Plaza, Central Park, NY, 'Sculpture Grove', Public Art Fund
1982 - Fine Arts Center, S.U.N.Y., Stony Brook, NY
1986 - Solomon R. Guggenheim Museum of Art, NY
1989 - Heland Wetterling Gallery, Stockholm, Sweden
2000 - Guild Hall Museum, East Hampton, NY
2004 - Parrish Art Museum, Southampton, NY
2005 - The Drawing Room, East Hampton, NY
Susan Sheehan Gallery, NY (& 2006)
2011 - Margo Leavin Gallery, Los Angeles, California
2013 - Washburn Gallery, New York, NY
LongHouse Reserve, East Hampton, NY
The Drawing Room, East Hampton, NY
2014 - Washburn Gallery, New York, NY
Galerie Hervé Bize, Nancy, France
Specializing in Contemporary and Modern Fine Art, North American and European.