Acme In The Press

Acme Fine Art in the Press

Lester Johnson and Peter Busa featured in New England Home Magazine

FINAL_NE Home_Johnson&Busa

New England Home magazine features a beautiful spread of a high-rise makeover, which showcases two fine examples by acclaimed artists Lester Johnson (1919-2010) and Peter Busa (1914-1985). It’s wonderful to see these works in an interior context and they are displayed quite beautifully among layers of gorgeous grays and pops of color. Featured in one living area is Johnson’s Two Heads (1969) and in the bedroom is Busa’s Reclining Figure (ca. 1948).

Image credits: Bruce Buck Photography

George McNeil: About Place Review from Rhino Horn Artists, Adam Zucker, and Berkshire Fine Art

Picture 058
George McNeil, Wave Painting 9/26/68, 1968
oil on panel, 13 x 16 1/2″

ACME Fine Art’s George McNeil: About Place exhibition received a stellar review from Rhino Horn Artists, Adam Zucker, and Berkshire Fine Art. Access to the complete review can be found at Rhino Horn Group or Berkshire Fine Art. We are thankful for your support! For questions about the show or works exhibited, please contact the gallery at



ACME in the Press

FINAL_Improper Bostonian_Still Life Invitational

What a tremendous turnout we had for our Still Life Invitational show, which was opened from 7 Nov. – 3 Jan. 2015. It was a great surprise right before the holidays when we were featured in the December holiday issue of the Improper Bostonian! The image displayed in the article is Kenneth Stubbs’s Still Life with Fruits, 1960, casein on masonite, 12 3/4 x 15 3/4″. Click here to learn more about the artist and for further details about the painting, please contact us at

Hidden Gems by New York School Artist Jack Tworkov to be Unveiled in Boston Exhibition

Tworkov Sound 1966

On Friday, May 1, Boston’s ACME Fine Art on Harrison Avenue will host a special preview of Jack Tworkov: Constellation of a Picture, a solo exhibit featuring unknown gems from the artist’s estate, most of which have never been shown publicly. The distinct group of ten paintings, mostly done between 1966-1967, bridges the formal gap between the emotionally powerful abstract expressionist masterpieces of Tworkov’s early work and the cerebral constructs of his later paintings.

Jack Tworkov (1900-1982) was a founding member of the New York School and Chairman of the Department of Art at Yale University. He is regarded as one of the prominent figures of the abstract expressionist movement in America – along with Willem de Kooning, Phillip Guston, Jackson Pollock and Franz Kline. The exhibition preview and reception will benefit the Fine Arts Work Center in Provincetown, of which Tworkov was also a founder. Pulitzer Prize-winning author Paul Harding(Tinkers) and Fine Arts Work Center writing Fellow (2000-2001), will attend the event as this year’s special guest. General ticket admission to the evening is $75 with Premier tickets also available. All proceeds, as well as a percentage of art gallery sales throughout the exhibit (through June 21, 2014), are earmarked to support the Work Center’s Fellowship Program for emerging visual artists and writers.  Complete event details are available at or by calling (508) 487-9960 x101.

ACME owners David Cowan and James Bennette have selected ten large Tworkov paintings that command the viewers attention by virtue of their size and scale, while also bringing attention to the sensitively subtle and compelling personal intimacy that they evoke. Since their move last September, this will be the fifth exhibit at ACME Fine Art’s new location at 450 Harrison Avenue in the heart of the SoWa District in Boston’s South End. “We’re thrilled to be hosting this annual event at our new location, which is a hub of creative energy and a center for Boston’s artistic community,” says co-owner David Cowan. “The May 1 preview and benefit is a great opportunity to explore our colorful and vibrant neighborhood, while also supporting Fine Arts Work Center, Provincetown’s celebrated Fellowship residency program for artists and writers.”

In addition to receiving a Pulitzer Prize for his 2010 debut novel Tinkers, special guest Paul Harding is also the author of the acclaimed Enon. Both works spotlight multiple generations of a New England family. Harding is a graduate of the University of Massachusetts, and was a drummer for the band Cold Water Flat before earning his MFA from the Iowa Writer’s Workshop and receiving a Guggenheim Fellowship. Harding cites his musical background as an inspiration for his writing, lauded for its distinct sense of rhythm.

The Jack Tworkov: Constellation of a Picture exhibition preview and reception is made possible by the generous support of sponsors ACME Fine Art, and associate galleries Carroll and Sons and Miller Yezerski Gallery. The exhibition was also made possible by the generosity and support of Hermine Ford and Helen Tworkov with special thanks to Jason Andrew. Catering provided by MAX Ultimate Food of Boston and Provincetown. Additional support continues to grow from numerous individuals and community-based businesses.

The Fine Arts Work Center was founded in 1968 with the mission of providing time and space to emerging visual artists and writers through residency programs in Provincetown, MA. Today, its Fellowship Program is one of the most renowned of its kind. Complementing its core mission, the Work Center also offers an open-enrollment summer workshop program in visual arts and creative writing featuring award-winning faculty. Additional programs include a low-residency MFA degree in visual arts in collaboration withMassArt, an online creative writing program called 24PearlStreet, and an extensive series of cultural events offered to the public throughout the year. The Work Center is located on an historic site in Provincetown, MA, the oldest arts colony in the country, minutes away from the pristine natural beauty of the Cape Cod National Seashore.

Ticket information is available through the Fine Arts Work Center website at, or by phone at 508-487-9960 x 101. The May 1 preview show of Jack Tworkov: Constellation of a Picture is at ACME Fine Art, 450 Harrison Avenue in the heart of Boston’s SoWa District. The exhibit preview and reception is from 6:00 pm to 8:00 pm. In addition to the general ticket admission of $75, premium tickets are also available, including $250 Friend, $500 Patron and $1,000 Benefactor. These elevated ticket categories offer additional tickets and those purchasing Benefactor tickets are invited to a post-reception After Dinner with Special Guest Paul Harding. All ticket proceeds and a percentage of art gallery sales throughout the exhibit are earmarked to support the Work Center’s Fellowship Program.

The Fine Arts Work Center is located at 24 Pearl Street in the heart of Provincetown, Massachusetts.

2014 Event Information At A Glance

Fine Arts Work Center in Provincetown – Special Season Fundraising Events

Friday, May 1
6:00 – 8:00 pm – Reception and Preview

Boston Exhibition Featuring Rarely Shown Works

Special Guest Pulitzer Prize-winning Author Paul
ACME Fine Art
450 Harrison Avenue, in the heart of Boston’s SoWa District
Boston, MA

Tickets $75 (Premium Tickets also available)


From dreamy images, reality is revealed By Cate McQuaid | BOSTON GLOBE APRIL 01, 2014

Back in time

ACME Fine Art revisits the James Gallery, an early cooperative operating in New York from 1954 to 1962, beginning at abstract expressionism’s height, with a lively show co-curated by gallery director David Cowan and one of the James’s original artists, Myrna Harrison. The James was one of a community of cooperatives around East 10th Street that sprung up in reaction to exclusionary commercial galleries.

William Freed’s “Untitled Abstraction.”

 William Freed’s “Untitled Abstraction.”

Not all of the work withstands the test of time, but the exuberant energy of the exhibition overrides the occasional misfire. There are a few jewels, including William Freed’s “Untitled Abstraction.” The paint is so built up it’s stony, but the colors — tangerine, grapefruit pink — glimmer and melt, despite the bold forms of a pale square tilting against a dark shape edged in arcs. James Billmyer’s untitled painting is made entirely of scores of straight lines criss-crossing the canvas, creating depth and a dense, striated surface.

The second show at ACME highlights another abstract artist of that era, Panos Ghikas, who worked primarily in egg tempera, a medium only a perfectionist can love. Early works made while he was in art school at Yale in the 1940s are figurative and deeply invested in volume, such as the romantic pair in “Give Your Heart to the Hawks.”

But Ghika was a cunning modernist, and his 1957 painting “McDowell Colony 2” is a terrific piece. Its flat, interlocking puzzle-pieces of color, with their angles and tones, effectively evoke planes and space. At the same time, they hint at figures in a footrace. Both paintings are intricate, with delicate, dusky hues, but the abstract “McDowell Colony 2” conveys so much more than the allegorical “Hawks.”


HH Untitled.18429

Breezy Vitality in Hofmann Drawings  By Cate McQuaid 

Hans Hofmann, the great abstract expressionist and teacher, was a master of tensions. He taught his students in New York and Provincetown about the “push and pull” of composition: The contrasts in color relationships, juxtapositions of forms, and the conflict between spatial illusion and flat surface. Hofmann was a great proponent of intuitive, automatic drawing,yet he would have students labor for weeks over a single still life.

“Hans Hofmann Early Drawings,” now up at ACME Fine Art, demonstrates the vitality of his line. Executed with a matchstick dipped in ink, and sometimes made on the fly in his roadster, the drawings come across as breezy finger exercises. The more you look at them, though, the more you see.

A voluptuous leaf takes center stage in “Untitled Sunflower.” The plant, with its sinewy stalk and lolling leaves, nearly bursts off the page, pushing into the extreme foreground, underscored by smoky shadows on either side. Yet it takes a moment to find the blossom: a spiky, awkward starburst atop a lean stem, seeming to float like a setting sun amid the far distant hills.

Hofmann simplifies forms in a way that makes them, strangely, at once idiosyncratic and archetypal. He dramatically telescopes space, jamming great distances into small frames. In “Untitled Landscape,” for instance, the steering wheel of his roadster sits in the foreground, and Provincetown Harbor stretches out at a steep angle in the distance.

He drew the sunflower in 1943. Most of the works here were made in the 1930s, soon after Hofmann emigrated from Germany. He was in his 50s, so to call these drawings “early” seems a misnomer. But it was here that he made his name as a painter and teacher of abstract expressionism, an American wave that moved the focus of contemporary art from Paris to New York.

A small pendant exhibition, “Figure by Four,” features drawings made by students in Hofmann’s classes. Lillian Orlowsky’s “Figure Drawing 01″ shows the way he taught cubist figuration, blocking the body out in angles and volumes; this one pivots around vertical and diagonal axes. The teacher has mapped out an instruction in a box on the upper left; you can see its echo in Orlowsky’s sharp angles, and in the small circle at one knee.

 There are a couple of black and red gouaches here, but Hofmann’s legendary strident colors are mostly missing. What we get instead, in his drawings and those of his students, is a relentless and lively investigation of structure, space, and form, pushed and pulled in ways that make them spring off the page.