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
From luscious leafy tendrils to stark horizon lines, this exhibition of prints by Hedda Sterne (1910–2011) celebrates the artist’s exquisite variety of formal interests. Although most often associated with a group of artists called the “Irascibles”—avant-garde forerunners of Abstract Expressionism—Sterne defied stylistic categorization. Her aesthetic experimentations fluctuated between organic and geometric, figural and abstract, and painterly and graphic. All share, however, a passionate attention to detail and form.
Drawn from the Amon Carter’s collection, this selection of lithographs features two thematic series that Sterne completed at the Tamarind Lithography Workshop in 1967: Metamorphoses, a study of the vegetal folds of a head of lettuce, and Vertical-Horizontals, a study of the atmospheric recession of the horizon. Both series expose Sterne’s highly original style and her intense exploration of a single theme over the course of many experimental compositions.
Objects Like Us, a group exhibition featuring more than seventy tabletop art objects by fifty-six artists, will open at The Aldrich Contemporary Art Museum in May. This exhibition explores the relational behavior of intimately scaled objects that personify or embody a human condition or attribute. The objects will span nearly sixty years and feature works conceived specifically for the exhibition, including a site-specific floor installation by artist/co-curator David Adamo. The overall experience will underscore the efficacy of the works’ relativity and illuminate the interconnectedness of audience and objects. Objects Like Us, is organized by Amy Smith-Stewart, curator at The Aldrich, and Adamo; it will be on view at The Aldrich from May 20, 2018, to January 13, 2019.
Sarah Peters is included in this group exhibition.
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.
Mika Tajima: Æther is organized in collaboration with the New Museum, New York, and curated by Margot Norton.
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.
Paper/Print: American Hand Papermaking, 1960s to Today. This focused exhibition is the first to trace the American hand-papermaking revolution as an outgrowth of the printmaking renaissance. It brings together the best, along with some of the rarest and lesser known examples, of two-dimensional works, artist books, and cast-paper multiples to spotlight the closely intertwined American stories of printmaking and papermaking in the contemporary period. Spanning more than fifty years, the exhibition will examine the transformation of paper from its traditional role as a substrate for prints to an active partner—and stand-alone medium—in the creation of editions and unique works by such artists as Mel Bochner, Lynda Benglis, Chakaia Booker, Leonardo Drew, David Hockney, Louise Nevelson, Robert Rauschenberg, Alan Shields, and Richard Tuttle, to name just a few.
3:00 pm – 3:30 pm
Art historian and critic Phyllis Tuchman will speak about a rare group of collages by John McLaughlin which will be on view.
This group exhibition includes Brian Rochefort.
Brian Rochefort is included in this group exhibition.
Sex, death, romance, magic, terror, wonder, alienation, and freedom: the night invites a myriad of often contradictory associations. For centuries, painters have been drawn to the mysteries and marvels of the night and its perceptual and poetic possibilities. From Rembrandt and his Night Watch to Georges de la Tour’s candle-lit scenes of the seventeenth century, James McNeill Whistler’s woozy Nocturnes, Vincent van Gogh’s dizzying Starry Night, and Edward Hopper’s lonely Nighthawks, artists have sought to capture the mood of the night. Of course, an exhibition about the night is also about the light that illuminates the darkness, from the moon and the stars, to candles, cigarettes, and the glow of cell phones. Many of the artists in The Lure of the Dark look back to predecessors, such as the Impressionists and Monet and Pisarro, to study the night en plein air, completing a painting in a single sitting or night. Featuring paintings — including new commissions — by a diverse group of over a dozen contemporary artists, including Patrick Bermingham, William Binnie, Cynthia Daignault, TM Davy, Jeronimo Elespe, Cy Gavin, Shara Hughes, Josephine Halvorson, Sam McKinniss, Wilhelm Neusser, Dana Powell, Kenny Rivero, and Alexandria Smith, The Lure of the Darkillustrates the ways in which the hours of darkness continue to provoke the contemporary imagination, providing apt metaphors for the diversity of human experience and the intersections of human experience along with the anxious tenor of the day.
Van Doren Waxter is pleased to host an artist talk about the Alan Shields Project on Saturday, February 3 at 2 PM at 195 Chrystie Street. The talk is moderated by Harvard's Director of the Carpenter Center for the Arts Dan Byers and participants include Cheryl Donegan, Martha Tuttle, and B. Wurtz. Free and open to the public
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.
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 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.