23 East 73rd St
December 22: Closing at 2 PM
December 23 - January 1, 2018: Closed
195 Chrystie St
December 22: Closing at 2 PM
December 23 – January 4, 2018: Closed
We are pleased to announce that Van Doren Waxter and its Lower East Side sister gallery 11R (formerly Eleven Rivington) are to merge on September 1, 2017, to form a multi-generational international program joining established artists and artist estates with a contemporary program of emerging and international artists. The combined operation encompasses the Upper East Side and Lower East Side gallery locations at 23 East 73rd Street and 195 Chrystie Street.
The gallery is to retain the name Van Doren Waxter, with John Van Doren and Dorsey Waxter as principals, and Augusto Arbizo and Elizabeth Sadeghi as partners. The newly integrated program emphasizes a cross-generational narrative, placing contemporary artists who are actively creating new work within the context of historically important artists.
This exhibition and its accompanying catalogue aim to present a comprehensive view of Diebenkorn’s evolution to maturity, focusing solely on the paintings and drawings that precede his 1955 shift to figuration at age 33. Included in the exhibition are paintings and drawings primarily from the Richard Diebenkorn Foundation, many of which have not before been publicly exhibited. Together these 78 drawings and 22 paintings offer a full picture of the young artist’s achievements.
Crocker Art Museum, Sacramento, California, October 8, 2017–January 7, 2018
David Owsley Museum of Art, Ball State University, Muncie, Indiana, February 1–May 20, 2018
Portland Art Museum, Portland, Oregon, June 16–September 23, 2018
Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California, January 12–April 7, 2019
Academy Art Museum, Easton, Maryland, April 19–July 14, 2019
Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of “outsider” and “self-taught.” Historicizing the shifting identity and role of this distinctly American version of modernism’s “other,” the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. A fully illustrated catalog accompanies the exhibition.
The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.
High Museum of Art, Atlanta, June 24–September 30, 2018
Los Angeles County Museum of Art, November 18, 2018–March 18, 2019
This November marks the fifth anniversary of the Parrish in its Herzog & de Meuron-designed building in Water Mill. To celebrate this milestone, the annual reinstallation of the Parrish permanent collection presents a closer look at artists whose work represents the ongoing legacy of artists of the East End.
Individual galleries will be dedicated to Abstract Expressionist James Brooks (1906–1992).
Recently, the Museum was entrusted with the most significant collection of works by Brooks and Charlotte Park by the James and Charlotte Brooks Foundation. Twenty paintings on view by Brooks, a key figure in modern American art who lived on the East End for decades, illustrate his embrace of experimentation and risk.
Alan Shields: Common Threads provides insight into the artist’s life-long engagement with textile and the needle arts, and illustrates how his impetus to take painting down from the wall and the stretcher liberated his artistic process.
Drawn entirely from the Montclair Art Museum’s permanent collection, this show comprises 53 paintings, drawings, prints, and sculptures by 42 American artists. It accompanies and extends the special exhibition Matisse and American Art.
To celebrate the recent gift of the painting One (1970), by American artist Sam Gilliam (b. 1933), the Block Museum will present a focused exhibition of works by artists engaged with abstraction and the expansion of painting in the U.S. in the 1960s and 1970s. Donated from the estate of Dawn Clark Netsch from the Collection of Walter A. Netsch and Dawn Clark Netsch, One is a quintessential example of Gilliam’s innovative “drape” paintings, which the artist began making in the late 1960’s. Moving beyond the experiments of other painters of the era, Gilliam saturated raw, unstretched canvas with acrylic to create works that lie at the intersection of painting and sculpture. Born in Tupelo, Mississippi and raised in Louisville, Kentucky, Gilliam has been based in Washington D.C. since the early 1960’s, and is part of a generation of Washington-based painters who have explored the boundaries of color, scale, and shape in painting.
One will be considered in the context of works from the Block’s collection by Gilliam’s contemporaries Alan Shields and Frank Stella. These works will be supplemented by additional Gilliam works drawn local collections.
This group exhibition includes Brian Rochefort.
Brian Rochefort is included in this group exhibition.
The Nasher Museum presents an exhibition inspired by some of pluralistic approaches that characterized American painting and sculpture between 1960 and 1990. Drawn primarily from the collection and featuring several significant recent acquisitions, Disorderly Conduct will include works by Al Held, Philip Guston, Audrey Flack, Nancy Graves and David Salle, among many others.
Sarah Peters is part of this group exhibition.
Alan Shields: A Different Kind of Painting features more than 40 of the late artist’s radical textile works that challenge the notion of painting, some shown for the first time.
Born in 1944 in Herington, Kansas, Shields attended Kansas State University, studying civil engineering and studio art. He moved to New York in 1968 and created three-dimensional, two-sided, and architecturally adaptable paintings. He showed with Paula Cooper Gallery from 1968 to 1991.
Shields died in 2005, and his estate is represented through Van Doren Waxter.
Recent exhibitions have included Alan Shields: Protracted Simplicity (1966-1985), Aspen Art Museum, Aspen, Colorado (2016) and Alan Shields: In Motion, Parrish Art Museum, Water Mill, New York (2015). Shields’ work is included in a number of museum collections such as the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C., and the Tate Collection, London.
Alan Shields: A Different Kind of Painting runs Aug. 22 through Jan. 2. A reception will take place Sept. 7.
Curated by Ian Ruffino.
For this solo exhibition, Mika Tajima presents an illuminated space that responds to the sentiment of future human expressions modeled by computer algorithms. The installation employs natural language processing and sentiment analysis to consider a future modeled after life itself. The rise of such predictive technology in military and e-commerce applications underlines how speculations of the future radically shape our perceptions, desires and decisions in the present. After Life is a contemplation of an escape from a life thoroughly scraped and decoded.
Morgan Bassichis adapts the underground classic The Faggots and Their Friends Between Revolutions (1977)—an out-of-print book by Larry Mitchell, with lush illustrations by Ned Asta, that recounts a fable of radical queerness and the challenges and possibilities of communal life—in a series of three “new moon potluck theater” evenings. Bassichis’s style incorporates stand-up comedy and call-and-response as well as, more recently, songs, lullabies, and chants. The Faggots and Their Friends Between Revolutions The Musical will unfold over the course of “Trigger: Gender as a Tool and a Weapon” as an incantation grappling with histories of queer and feminist world-making. The luminary cast includes TM Davy, DonChristian Jones, Michi Osato, Una Osato, and special guests, with set design by Anna Betbeze. In Bassichis’s own words, “It’s like dinner theater but spiritual and can you bring some of the food? Seriously.” If you would like to contribute food to the potluck, please arrive by 6:45 p.m.
Cover Image: Illustration by Ned Astra in The Faggots and Their Friends Between Revolutions. New York: Calamus Books, 1977
Jackie Saccoccio is part of this group exhibition.
Jeronimo Elespe is included in this group exhibition.
Museo Nacional Centro de Arte Reina Sofía
Manuel Borja-Villel and Salvador Nadales
Eva Lundsager is included in this group exhibition.
Artists have studied the human figure throughout the ages. One regional expression of this practice is Bay Area Figurative, an art movement that emerged from California mid-20th century abstraction and continues as an enduring tradition. This group exhibition investigates the genesis of the Bay Area Figurative movement and features several generations of artists, including contemporary artists working locally and internationally
Solo exhibition of new abstract works by Cameron Martin.
A group exhibition featuring 40 of Judy Fiskin's photographs.
This group exhibition features two works by Hedda Sterne.
Presenting a new view of two of the twentieth century’s most extraordinary painters, Matisse/Diebenkorn is the first major exhibition to explore the profound inspiration Richard Diebenkorn (1922–1993) found in the work of Henri Matisse (1869–1954). It brings together 100 extraordinary paintings and drawings—40 by Matisse and 60 by Diebenkorn—that reveal the connections between the two artists in subject, style, color, and technique.
The exhibition unfolds across the arc of Diebenkorn’s career—from early abstractions, through his Bay Area figurative years, to his majestic Ocean Park series—all in direct dialogue with works that he knew and admired by Matisse. Diebenkorn grew up in San Francisco, and first discovered Matisse as a Stanford University art student in the early 1940s. Over the next four decades, he pursued a serious study of the great French modernist’s work, drawing from his example to forge a style entirely his own.
Long acknowledged in Southern California as one of the most important artists of the postwar period, John McLaughlin (1898-1976) created a focused body of geometric paintings that are entirely devoid of any connection to everyday experience, inspired by the Japanese notion of the void. Using a technique of layering rectangular bars on adjacent planes of muted color, McLaughlin creates works that provoke introspection and, consequently, a greater understanding of one’s relationship to nature. The exhibition consists of 52 paintings and a selection of collages and drawings that will establish McLaughlin as one of the foremost innovators of total abstraction. A fully illustrated catalogue (the artist’s first hardcover book) features essays by curator Stephanie Barron, artist Tony Berlant with co-curator Lauren Bergman, critic and independent curator Michael Duncan, LACMA's Gail and John Liebes Curator of American Art Ilene Susan Fort, and professor of art at University of California, Los Angeles Russell Ferguson.
Work by Al Held is included in this group exhibition:
Between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, the New York art scene was transformed by artist-run galleries. Inventing Downtown presents works from fourteen of these crucibles of experimentation, highlighting artists’ efforts to create new exhibition venues for innovative works of art—ranging from abstract and figurative painting, assemblage, sculpture, and works on paper to groundbreaking installations and performances.
Matisse/Diebenkorn is the first major exhibition to show the profound influence of French modern artist Henri Matisse on the work of American artist Richard Diebenkorn. Breathtaking juxtapositions of more than 90 paintings and drawings from museums and private collections throughout the U.S. and Europe reveal the enduring power of Diebenkorn’s firsthand experiences of the French artist’s work and present a stunning new view of two artists who never met. The exhibition will travel to the San Francisco Museum of Modern Art following its presentation in Baltimore. The BMA is the only East Coast venue for this highly anticipated exhibition.
This ticketed exhibition will be accompanied by an audio tour that explores the evolution of Diebenkorn’s art and highlights visual comparisons between his work with Matisse’s. A fully illustrated catalogue, available for purchase online at the BMA Shop in October, provides deeper insights into the lives and working methods of these two master painters.
How do works by two painters from two different eras compare when we see them side by side? A new exhibition is answering that question. The show featured works by Henri Matisse, the French Post-Impressionist Master, and Richard Diebenkorn, the influential but less-well-known American modernist, together for the first time. Rita Braver takes a look.
A four-volume definitive resource on the career and unique works of the postwar American artist Richard Diebenkorn
The celebrated American artist Richard Diebenkorn (1922–1993) was a singular figure in postwar American art. Early in his career, he created abstract paintings that combined landscape influence, aerial perspective, and a deeply personal calligraphic language. Then, in late 1955, he began working in a representational mode (landscapes, figure studies, and still lifes) and was associated with the Bay Area figurative movement. Diebenkorn later abandoned figurative references in the 1960s and embarked on monumental abstract, geometrical compositions, including his celebrated Ocean Park works.
This four-volume catalogue raisonné is the definitive resource on Diebenkorn’s unique works, including his paintings, works on paper, and three-dimensional objects. The first volume gives an overview of the artist’s career, featuring essays by noted scholars John Elderfield, Ruth E. Fine, Jane Livingston, Steven Nash, and Gerald Nordland, as well as an illustrated chronology, list of exhibitions, bibliography, and selection of studio notes. The second volume spans his student and early abstract works; the third volume features his representational works during the Berkeley period; and the fourth volume covers his later periods, as well as his sketchbooks and other little-known private drawings. Many of the more than five thousand works illustrated in this catalogue are being published for the first time, and with new color photography that showcases his work like never before.
Jane Livingston is an independent curator and author. Andrea Liguori is managing director of the Richard Diebenkorn Foundation.