In accordance with CDC guidelines and NYC mandates:
Masks will be required to be worn in all indoor public places unless businesses or venues implement a vaccine requirement.
Gallery exhibitions are open to the public. Due to the spread of the highly contagious Omicron variant, we ask that everyone wear a mask whenever they are in a public, indoor setting (including galleries), even when it is not required, and in any setting when they do not know who around them is vaccinated.
One of the typical measures of success for artists is the ability to quit their day jobs and focus full time on making art. Yet these roles are not always an impediment to an artist’s career. This exhibition illuminates how day jobs can spur creative growth by providing artists with unexpected new materials and methods, working knowledge of a specific industry that becomes an area of artistic interest or critique, or a predictable structure that opens space for unpredictable ideas.
The Parrish Art Museum is organizing James Brooks: A Painting is a Real Thing, a comprehensive survey of significant scope comprised of some fifty paintings drawn from public and private U.S. collections. Throughout his long and prolific career James Brooks (1906–1992) advocated, with a messianic zeal, the primacy of paint—what happens on the surface—as the only authentic “subject” of a work of art. He embraced experimentation and shied away from developing any dominant method or style in order to avoid, as he once put it, “one’s own pictorial clichés.” Color alone remains the consistent and essential component in Brooks’s work. James Brooks: A Painting is a Real Thing will be shown at the Parrish from August 8 through October 25, 2020.
See an intimate and interactive installation of famed Bay Area artist Richard Diebenkorn’s paintings and sketchbooks that shed light on the artist’s process, including his shift from figurative to more abstract work.
With Pleasure: Pattern and Decoration in American Art 1972–1985 is the first full-scale scholarly survey of this groundbreaking American art movement, encompassing works in painting, sculpture, collage, ceramics, installation art, and performance documentation. Covering the years 1972 to 1985 and featuring approximately fifty artists from across the United States, the exhibition examines the Pattern and Decoration movement’s defiant embrace of forms traditionally coded as feminine, domestic, ornamental, or craft-based and thought to be categorically inferior to fine art. Pattern and Decoration artists gleaned motifs, color schemes, and materials from the decorative arts, freely appropriating floral, arabesque, and patchwork patterns and arranging them in intricate, almost dizzying, and sometimes purposefully gaudy designs. Their work across mediums pointedly evokes a pluralistic array of sources from Islamic architectural ornamentation to American quilts, wallpaper, Persian carpets, and domestic embroidery. Pattern and Decoration artists practiced a postmodernist art of appropriation borne of love for its sources rather than the cynical detachment that became de rigueur in the international art world of the 1980s. This exhibition traces the movement’s broad reach in postwar American art by including artists widely regarded as comprising the core of the movement, such as Valerie Jaudon, Joyce Kozloff, Robert Kushner, Kim MacConnel, and Miriam Schapiro; artists whose contributions to Pattern and Decoration have been underrecognized, such as Merion Estes, Dee Shapiro, Kendall Shaw, and Takako Yamaguchi; as well as artists who are not normally considered in the context of Pattern and Decoration, such as Emma Amos, Billy Al Bengston, Al Loving, and Betty Woodman. Though little studied today, the Pattern and Decoration movement was institutionally recognized, critically received, and commercially successful from the mid-1970s to the mid-1980s. The overwhelming preponderance of craft-based practices and unabashedly decorative sensibilities in art of the present-day point to an influential P&D legacy that is ripe for consideration.
MOCA LA: October 27, 2019 – May 18, 2020
Hessel Museum of Art: June 26 – November 28, 2021
Crossroads mines our collection for stories that resonate today by highlighting the critical role of the artist in everyday life.
This complete reinstallation of our postwar and contemporary art galleries places the work of artists at the intersection of history and society. We’re also bringing dozens of rarely and never-before-shown works out of storage. Curator Eric Crosby finds pockets of depth, diversity, and eccentricities, organizing the galleries in a series of “chapters.”
Crossroads is organized by Eric Crosby, The Richard Armstrong Curator of Modern and Contemporary Art.
Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020, is a freewheeling look at the work of 42 artists who have called the Hamptons home for a week, a season, or a lifetime. Organized by the Museum’s Lewis B. and Dorothy Cullman Chief Curator Alicia G. Longwell, Ph.D., the exhibition tells the sweeping story of artists with ties to the region who have expanded and exploited the language of abstraction.
Hedda Sterne, Road No. 11, 1957, Oil, spray paint on canvas, 60 in. x 42 in.
© The Hedda Sterne Foundation, Inc. / Licensed by ARS, New York, NY
Van Doren Waxter is pleased to announce exclusive representation of the work of Milton Resnick (1917-2004). A first-generation Abstract Expressionist who is most known today for his later monumental, quasi-monochromatic paintings remarkable for their immensity and materiality. These works are held in public collections, including the Museum of Modern Art, New York, the National Gallery of Art, Washington, D.C., the Smithsonian Institute: Museum of American Art, Washington, D.C, the National Gallery of Australia, Canberra, and the Whitney Museum of American Art, New York.
A one-person exhibition will take place in 2022 at the gallery’s historic 1907 townhouse.
The gallery will seek to develop a wider audience for Resnick’s art and life in collaboration with The Milton Resnick and Pat Passlof Foundation, which exhibits, publishes, and preserves his work in the artist’s former home and studio on the Lower East Side of Manhattan. The Foundation opened to the public in 2018 with a fifty-year retrospective survey of his work.
In a decades long career characterized by revolutions, departures, and an obsession with paint—“paint, that’s all I have”—his practice included abstractions in the 1950s of interlocking forms that eventually became more rectangular and diagrammatic, to a focus on brushstroke in the 1960s, to an elimination of all line and imagery and all out embrace of scale, density, and surface from the 1960s to the 1980s, and finally a turn to figuration in the 1990s.
“We feel very honored to represent the very powerful, phenomenal work of Milton Resnick,” said Dorsey Waxter. “Resnick’s practice was continually evolving and he was deeply committed to oil paint and process. We look forward to introducing new audiences to the legendary artist of intensity and sublimity.”
“We know and respect Dorsey Waxter and John Van Doren,” said Susan Reynolds, executive director of the Milton Resnick and Pat Passlof Foundation, who added that the gallery will be invaluable in exploring the artworks which the artist produced in the late 1970s and 1980s, including the immense works that include the Elephant (1979-1983) paintings. “The range and diversity of the Van Doren Waxter program, their depth of knowledge and work with post war American Abstractionists and estates is very important to us.”
The representation will include a special and ongoing relationship with Miguel Abreu Gallery located at 36 Orchard Street and 88 Eldridge Street directly across from the artist’s foundation. In 2018, the gallery mounted a large-scale exhibition of the artist’s paintings on paper.
Courtesy the Milton Resnick and Pat Passlof Foundation, New York
©Robert A Ellison Jr.
Cristiano Raimondi, guest curator at the NMNM for this exhibition, chose to investigate ceramics as a heterogenic and unstable material, able to tell transversal stories. Through a selection of more than 120 pieces by international artists, the curator envisioned a set-up which is a crossover between atelier and a cabinet of curiosities.
Organized to accompany David Park: A Retrospective, this exhibition examines the weekly figure drawing sessions initiated by Park, Elmer Bischoff, and Richard Diebenkorn in 1953. These artists’ gatherings, which expanded during the decade to include additional friends and colleagues, were held in each other’s Bay Area studios with hired models, both male and female. Together, the artists focused on mastering the human form by repeatedly drawing models in various poses, and experimenting with both traditional and alternative materials. The show features thirty-three drawings and two sketchbooks that capture the dynamic and collegial nature of these sessions.
Making Knowing: Craft in Art, 1950–2019 foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. Some expand techniques with long histories, such as weaving, sewing, or pottery, while others experiment with textiles, thread, clay, beads, and glass, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work.
While artists’ reasons for taking up craft range widely, many aim to subvert prevalent standards of so-called “fine art,” often in direct response to the politics of their time. In challenging accepted ideas of taste—whether by embracing the decorative or turning away from traditional painting and sculpture in favor of functional items like bowls or blankets—these artists reclaim visual languages that have typically been coded as feminine, domestic, or vernacular. By highlighting marginalized modes of artistic production, these artists challenge the power structures that determine artistic value.
This exhibition provides new perspectives on subjects that have been central to artists, including abstraction, popular culture, feminist and queer aesthetics, and recent explorations of identity and relationships to place. Together, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art.
Epic Abstraction: Pollock to Herrera will begin in the 1940s and extend into the twenty-first century to explore large-scale abstract painting, sculpture, and assemblage through more than fifty works from The Met collection, a selection of loans, and promised gifts and new acquisitions. Iconic works from The Met collection, such as Jackson Pollock's classic "drip" painting Autumn Rhythm (1950) and Louise Nevelson's monumental Mrs. N's Palace (1964–77), will be shown in conversation with works by international artists, such as Japanese painter Kazuo Shiraga and the Hungarian artist Ilona Keserü. The exhibition will be punctuated with special loans of major works by Helen Frankenthaler, Carmen Herrera, Shiraga, Joan Snyder, and Cy Twombly.
In the wake of unprecedented destruction and loss of life during World War II, many painters and sculptors working in the 1940s grew to believe that traditional easel painting and figurative sculpture no longer adequately conveyed the human condition. In this context, numerous artists, including Barnett Newman, Pollock, and others associated with the so-called New York School, were convinced that abstract styles—often on a large scale—most meaningfully evoked contemporary states of being. Many of the artists represented in Epic Abstraction worked in large formats not only to explore aesthetic elements of line, color, shape, and texture but also to activate scale's metaphoric potential to evoke expansive—"epic"—ideas and subjects, including time, history, nature, the body, and existential concerns of the self.