Press Releases

Press Releases issued by Acme Fine Art

Gilbert Franklin: Dimensions

TOREROS front-cropped

Toreador, undated polychromed and gessoed wood 30 x 10 x 5 3/4″

ACME Fine Art’s premier show of the Fall 2015 gallery season will be an exhibition of painting, works on paper, and sculpture by noted twentieth-century artist and teacher Gilbert Franklin. The exhibition is titled GILBERT FRANKLIN: DIMENSIONS, and it will feature important works—two and three dimensional pieces—from all phases of the artist’s six decade long career. The exhibition will open on Friday 18 September and run through Saturday 31 October 2015. A reception from 5:00 to 8:00 p.m. on Friday 2 October will be held in conjunction with SoWa First Friday festivities.

Gilbert Franklin is one of the most significant and influential sculptors of American modernism in the twentieth-century. His prolific and impressive career included numerous public commissions, group and one-man exhibitions, and teaching positions throughout New England, the Midwest, and abroad.

Franklin was born in Birmingham, England and grew up in Attleboro, Massachusetts. In 1938 he studied painting with John Frazier at the Hawthorne School in Provincetown, Massachusetts. By 1941, he received his B.F.A from the Rhode Island School of Design where he taught from 1942-1984. It was during this period at RISD that he served as Head of the Sculpture Department (1953-60), Chair of the Division of Fine Arts (1960-75), and Dean (1975-84). He was the co-founder of RISD’s European Honors Program and served as Director of that illustrious program for several years. He also served as a visiting professor at Harvard, Yale, and the University of Pennsylvania, among other institutions. Additionally, Franklin served on several professional and academic boards. He was a Trustee of the American Academy in Rome, and served on the Board of Overseers of the University of Pennsylvania Graduate School of Fine Arts and the School of Fine Arts at Boston University. In 1984 he was named Helen M. Danforth Distinguished Professor of Fine Arts at RISD.

As a sculptor, Franklin worked in granite, marble, wood, and bronze. He was a master of bronze casting and his sculptures ranged from the figurative to the non-representational. As a Fellow of the American Academy in Rome, Franklin connected to the classical traditions of Roman and Greek sculpture; however, the majority of his sculptures tended to convey a modernist aesthetic in their rough surfaces, boldly sliced interacting forms, and sharp edges.

Franklin was the recipient of numerous awards—namely, the Prix de Rome in Sculpture, the Grand Prize at Boston’s Fine Arts Festival, and the Providence Art Club Medal for Excellence in the Arts. He was also an elected member of the National Academy, a Fellow at the American Academy in Rome, and The Ella Jackson Chair at the Truro Center for the Arts at Castle Hill. Additionally, he received many public commissions including: the U.S. Navy Memorial in Washington, D.C.; the Harry S. Truman Memorial in Independence, MO; pieces for the Hallmark Collection in Kansas City, MO; for the Gannett Building, Washington, D.C.; and the Orpheus Ascending Fountain at the Frazier Memorial in Providence, RI, as well as outdoor sculpture, Seaforms, at the Wellfleet Public Library. His final commission was a fourteen foot sculpture in Memory of Rev. Dom Peter Sidler at the Portsmouth Abbey School in Portsmouth, RI.

Franklin’s work is represented in the collections of the Museum of Fine Arts in Boston, The Rhode Island School of Design Museum in Providence, The National Academy Museum in New York, and The Corcoran Gallery and the National Portrait Gallery in Washington, D.C. as well as many others. His work has been shown widely both in the U.S. and abroad including, the Whitney Museum of American Art and a major one-man exhibition at Saint-Gaudens National Historic Site in Cornish, NH in 2004. The most recent museum exhibition of Franklin’s sculpture was held at the Provincetown Art Association and Museum in 2010.

ACME Fine Art’s exhibition GILBERT FRANKLIN: DIMENSIONS will be on view in the galleries at 450 Harrison Avenue in Boston and on the gallery website from 18 September to 31 October 2015. Exhibition catalogues will be available through the gallery or at blurb.com. Please contact the gallery (www.acmefineart.com) with inquiries about the exhibition or the artist.

Summer Salon 2015

webster-house-provincetown-lg

E. Ambrose Webster Webster House, Provincetown, 1931 oil on artist’s board, 15 x 10″

ACME Fine Art’s ever-popular annual Summer Salon exhibition will open on Friday, 3 July 2015. A reception will be held in conjunction with SoWa’s First Friday event from 5:00 to 8:00 that evening. The exhibition will be on view through Saturday,15 August. Please note that the gallery will be closed from 4 July through 6 July in celebration of the holiday.

This year’s Summer Salon will feature a variety of summer-themed artworks created during the twentieth century at New England’s renowned summer art colonies, as well as a selection of important works reprised from gallery and museum exhibitions of the 2014/2015 season. Highlights will include a beautiful late cubist oil painting by E. Ambrose Webster, a monumental canvas by contemporary painter Pat Lipsky from her celebrated series of Color Paintings, a joyous late collage on canvas by master of the medium Fritz Bultman, and a delightful mid-century rendering of Truro’s Highland Light by Herman Maril. Additional highlights will include an important late Open Space series oil painting by New York School artist Michael Loew and several plein air landscape paintings by master expressionist George McNeil. Other artists whose artwork will form a part of the exhibition include: Hans Hofmann, Edwin Dickinson, Charles Littler, Kenneth Stubbs, Dorothy Eisner, Haynes Ownby, Panos Ghikas, William Freed, Lillian Orlowsky, Philip Malicoat, Daniel Brustlein, Robert Beauchamp,Tony Vevers, and Lester Johnson. Sculpture by Gilbert Franklin, Ilya and Resia Schor, and paintings by contemporary artists, Rose Basile, Myrna Harrison, and George Lloyd will round out the exhibition.

ACME Fine Art’s 13th Annual SUMMER SALON exhibition will open on Friday, 3 July 2015 and will be on view through Saturday, 15 August 2015. This exhibition will be viewable on the gallery website: www.acmefineart.com. Please contact the gallery at 617.585.9551 or info@acmefineart.com for further information about exhibitions and/or artists. Summer Gallery Hours are 11:00 a.m. to 5:00 p.m. Wednesday through Saturday and by appointment.

 

 

 

Pat de Groot and Friends

pat-de-groot-cool-day-7.75x7.75in

Pat de Groot, Cool Day, 2006, oil on panel, 7 3/4 x 7 3/4″

A group exhibition featuring twentieth and twenty-first century artwork by more than twenty artists will open at ACME Fine Art’s 450 Harrison Street galleries on Friday, 15 May 2015. The exhibition, COOL DAY: Pat de Groot & Friends, will focus thematically on the remarkable paintings by one of Provincetown Massachusetts best loved contemporary artists as well as artwork made by more than twenty of her friends and colleagues over the course of the past fifty years. The exhibition is co-curated by Pat de Groot, Jim Balla and Albert Merola of Provincetown’s Albert Merola Gallery, and ACME Fine Art’s Gallery Director David Cowan. The artwork comes from a variety of sources including, private collections, galleries from New York to Provincetown, directly from the estates of artists, and from the artists themselves. It ranges from Abstract Expressionism from the late 1950s to the contemporary avant-garde of 2015. De Groot’s participating artist friends include Myron Stout, John Waters, Fritz Bultman, Georgia Marsh, Bob Thompson, Eric Aho, Robert Beauchamp, Sam Messer, Robert Henry, Jack Pierson, Nanno de Groot, Richard Baker, Gandy Brodie, James Balla, Selina Trieff, Timothy Woodman, Gregory Gillespie, Helen Miranda Wilson, Paul Bowen, and Michael Mazur.

For nearly half a century, Provincetown’s influental art community has been home to Pat de Groot.  A Pollock-Krasner Foundation grant recipient, de Groot is that precious and endangered Provincetown species: the conga-playing, Buddhist, jazz devotee, painter. A native of London, Pat and her husband, the abstract expressionist Nanno de Groot (1913 – 1963), became residents of Provincetown in the mid-50s. At the time, Pat was not an artist and did not become one until years after her husband’s death. In the 90’s, after drawing for many years, Pat began to make oil paintings of the view from her bayside studio window. Today,  she is especially known for serenely small seascapes inspired by the ever-changing scene that greets her from the deck of her Provincetown home. In her words: “I want to grab a piece of all this, of this sacred place, and say something with paint about the sky and the sea and the horizon and how it affects me.”  In a review of her paintings in a 2000 exhibition at the Pat Hearn Gallery in Manhattan the New York Times said, “Her oil-on-panel paintings exude a concentrated sense of spiritual and aesthetic purpose — part Zen, part American Transcendentalist, part Modernist formalist.”  The poet and critic John Yau has commented that this phenomenon in her work makes us feel that we “greet and bid farewell to every moment.”

This special exhibition is being mounted as a benefit for the Fine Arts WorkCenter  in Provincetown. The Fine Arts Work Center is a not-for-profit organization based in Provincetown, Massachusetts that is the single largest provider of fellowships to emerging visual artists and creative writers in the world. A portion of all sales proceeds throughout the duration of the exhibition will be donated to the Fine Arts Work Center in Provincetown. COOL DAY was conceived of by ACME Fine Art and Albert Merola Gallery as a tribute to Pat de Groot, in recognition of her extraordinary artistic achievement and for her generosity as a patron of the Fine Arts Work Center, where she served as President (1992-96) and an active member of the Work Center’s Visual Arts Committee (1997 to present). There will be a Special Preview Event honoring de Groot on Thursday, 14 May from 6:00 to 8:00 p.m. De Groot and a number of the artist’s friends included in the exhibition will be in attendance. Cocktails and nibbles by MAX Ultimate will be served.

COOL DAY: Pat de Groot & Friends will be on view at ACME Fine Art’s 450 Harrison Avenue galleries from Friday,15 May through Saturday, 20 June 2015, and on-line at www.acmefineart.com. For further information about the exhibition or the artists please contact the gallery. For tickets to the Special Preview event on Thursday 14 May please go to www.fawc.org/tickets.

Online Exhibition: Michael Loew: Works on Paper 1940-1973

loew-reclining-figure-dra185-highres-lg

Reclining Figure, 1950, ink on paper, 8 3/4 x 10 1/2″

ACME Fine Art is featuring an online exhibition of watercolors and drawings, dating from 1940-1973, by the prolific American artist Michael Loew. The selection of works on paper are available online on starting Tuesday 14 April and viewable at www.acmefineart.com and on our Artsy page. This is the gallery’s first online exhibition of Loew’s work and highlights the artist’s mastery for combining nature and abstraction in the twentieth century.

As a student of the Art Students League, the Hans Hofmann School of Fine Art in New York City, and the Atelier Leger in Paris, Loew developed a profound understanding of modern art, abstraction, cubism, and color theory. When he was not teaching at the School of Visual Arts in Manhattan, Loew retreated to his home and studio on the island of Monhegan, Maine. It was in the quiet solitude of Monhegan Island that gave Loew the opportunity to see and interpret nature’s serene relationships between light, atmosphere, and landscape — qualities that so powerfully influenced his work. Loew’s interest in nature-based abstraction, coupled with his formal training in modern art, propelled the artist to create harmonious compositions that reveal an innovative way of seeing the world.

loew-untitled-ptp240-highres-lg

Untitled, 1973, watercolor, 15 x 22″

Loew is the recipient of several awards and fellowships throughout his career — namely, the Sadie A. May Fellowship, the National Endowment for the Arts Grant, the Guggenheim Memorial Foundation Fellowship, and the Judith Rothschild Grant. Today, Loew’s work is in the permanent collections of major institutions such as, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, and the University Art Museum at the University of California, Berkeley.

Michael Loew Works on Paper 1940-1973 is available online from Tuesday 14 April through Saturday 15 August, 2015. The exhibition is viewable at www.acmefineart.com and on Artsy.

Pat Lipsky: Twenty Years

Porphyry, 2004-2007, oil on canvas, 53 x 58 1/4″

ACME Fine Art’s exhibition of paintings by acclaimed contemporary painter Pat Lipsky will open on 6 March, 2015. The artist will be on hand for an Opening Reception that will be held in conjunction with SoWa First Friday from 6:00 to 8:00 pm on 6 March. The exhibition will be on view through Saturday, 25 April and will be the gallery’s first solo exhibition of Lipsky’s work. For this occasion, Gallery Director David Cowan selected ten canvases dating from 1995 to the present that collectively document what the artist’s color paintings have been about these last twenty years. Through her more than four decade career Lipsky has been primarily occupied with the emotive, and relational nature of color.

Lipsky paints bold pictures that use a surprisingly painterly approach in somewhat simplified compositions evoking feeling through color relationships.  Following the tradition of Abstract Expressionism Lipsky’s paintings are large and synoptic. Upon further viewing the myriad details she focuses on reward the eye. Often she uses as many as fifty thinly applied layers for a single color giving her pictures a rich, expressive effect. Ultimately her canvases tantalize the eye, engage the head, and reveal her humanity. The work draws on a range of fascinating visual sources from the porphyry colored marble columns of Saint Marks Cathedral to the black lead of early Gothic stained glass.

Photo Wilhelm Sholz-Pat Lipsky

Photo courtesy: Wilhelm Sholz

Lipsky began exhibiting her work in the 1960s at the Andre Emmerich Gallery soon after earning degrees from Cornell University and Hunter College. It was studying at Hunter College that Lipsky met her mentor, the acclaimed sculptor and visual artist, Tony Smith. Lipsky’s use of color, coupled with the spatial organization of shapes, make her work strikingly complex and visually stimulating. Recent exhibitions have been glowingly reviewed in Art in America, The New Yorker, the New York Times,  Partisan Review, and Art New England.

A winner of the prestigious Adolf and Esther Gottlieb Foundation Grant and twice the recipient of Pollock Krasner Foundation Grants, Pat Lipsky has had 29 one woman shows and a solo museum show at the Everson Museum of Art in Syracuse. Her paintings are in 22 museum collections including, the Brooklyn Museum, the Harvard Art Museum, the Hirshhorn Museum and Sculpture Garden, the San Francisco Museum of Modern Art, the Wadsworth Atheneum, the Walker Art Center, and the Whitney Museum of American Art.

Examples of Lipsky’s work that are currently available are now on view at the gallery website and the Gallery’s  ARTSY site. For further information on the exhibition and/or the artist please contact the gallery.

George McNeil: About Place: Three Decades of Landscape Inspired Abstraction

McNeil_Now Street #2_1990-HighRes-lg

Now Street #2, 1990, oil on canvas, 68 x 74″

 

For ACME Fine Art’s first exhibition of the 2015 season Gallery Director David Cowan will present the gallery’s sixth solo show of oil paintings by 20th century expressionist master George McNeil. The exhibition will open at ACME Fine Art’s SoWa gallery on Friday, 9 January 2015. A reception will be held from 5:00 to 8:00 p.m. on 6 February in conjunction with SoWa’s First Friday of February celebration. The exhibition will be comprised of a group of 18 landscape inspired paintings from the estate of the artist that date from between 1955 and 1990. The works range from small, highly abstract panels that were painted en-plein-air at the height of the Abstract Expressionist Movement, to monumental mixed media studio paintings that McNeil made from the beginning of the Figurative Expressionist Movement—mid-century through the late 20th century—as part of what later became known as the Neo-Expressionist Movement. The exhibition will be on view through Saturday, 21 February 2015. Exhibition catalogues will be available through the gallery.

George McNeil was a true pioneer of American modern art. Today he is recognized as one of the few true first-generation Abstract Expressionist painters. It should also be noted, however, that McNeil’s legacy in modern art began long before his participation in the advent of the New York School.  Among his other early noteworthy accomplishments, McNeil was one of the founders of the American Abstract Artists group in 1936, and in 1939 he was one of only five non-objective artists whose work was selected for the New York World’s Fair exhibition.

McNeil got his start as an artist as early as 1922 when—while still a teenager—he attended art classes at the Brooklyn Museum. Thanks to seminal exhibitions that he viewed at the Brooklyn Museum of their Societe Anonyme collection and others at the Metropolitan Museum during the 1920s, McNeil became an ardent admirer of the work of Picasso, Matisse, Duchamp, and Picabia. Between 1927 and 1932 McNeil’s studies at the Art Students League introduced him to Vaclav Vytlacil, Jan Matulka, and most importantly, Hans Hofmann. McNeil became closely associated with Hofmann during this period. In 1936 and 1937 McNeil acted as Hofmann’s class monitor, official assistant, and unofficial interpreter of Hofmann’s theories. (An often-repeated story about McNeil’s role as interpreter is that when Lee Krasner was asked what she thought of Hofmann’s theories, she responded that she could not say, because all she really understood was McNeil’s version). The collegial atmosphere of the Hofmann School helped sponsor his lifelong friendships with artists such Giorgio Cavallon, Mercedes Matter, John Opper, William Freed, Lillian Orlowsky, and Rae Eames. Similarly, McNeil’s participation in the Federal Arts Project in the 1930s led to associations with Burgoyne Diller, Willem De Kooning, and James Brooks.

After earning his Doctorate in Education from Columbia University in 1943, McNeil served in the U.S. Navy during World War II. His distinguished teaching career began with a two-year post at the University of Wyoming following the war, after which he accepted the Directorship of the Pratt Institute Evening Art Program. As Director, McNeil was responsible for bringing Franz Kline, Philip Guston, Reuben Nakian, and other noteworthy artists in to teach classes. McNeil served on the faculty at Pratt from 1948 until 1981. During his tenure at Pratt, McNeill also taught at the University of California at Berkeley in 1956 and 1957, and at the New York Studio School of Painting, Drawing, and Sculpture from 1966 to 1981.

In the late 1940s, McNeil joined the Charles Egan Gallery in Manhattan. Egan was one of the premiere galleries in New York to introduce the work of Abstract Expressionist artists. During this time, the Egan stable included Willem De Kooning, Franz Kline, Jack Tworkov, Giorgio Cavallon, Philip Guston, and Robert de Niro Sr. In 1950 McNeil had his first of four solo exhibitions at the Charles Egan Gallery. Since that time McNeil’s work has been widely exhibited in galleries, in private collections, and in museum venues alike. Some of the highlights include: participation in group exhibitions at the Art Institute of Chicago (1947), Museum of Modern Art (1951, 1959, 1969, 1985), the Whitney Museum of American Art (1957, 1961, 1965, 1988) Solomon R. Guggenheim Museum (1961), and the Pennsylvania Academy of Fine Arts (1962, 1966). Today, George McNeil’s work is in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, the Whitney Museum of American Art, the Brooklyn Museum of Art, and the Corcoran Gallery of Art.

ACME Fine Art’s 2015 exhibition of landscape inspired paintings by McNeil starts with paintings made during Abstract Expressionism’s heyday, the 1950s. His work from the ‘50s is characterized by his signature use of multiple layers of thick impasto with interlaced textural bands and surface areas of heavy pigment. These canvasses are the boldly colorful, spontaneously conceived, emphatic, artistic statements by an artist who had found his natural expressionist’s voice. In short, they constitute classic, New York School, Abstract Expressionism. From mid-decade on, many of the painting titles take on place names, such as Antietam, Illyria, and Tharsus, and they seem to evoke the ethos of the places after which they are named.

This was the period that brought McNeil’s work the serious critical attention that it deserved. He had excellent gallery representation at mid-century, and his work was exhibited regularly, first at Egan (until 1954), then at the Poindexter Gallery (through 1959), and later on at the Howard Wise Gallery (1960-1967). It should also be noted that his work was regularly reviewed by such publications as Time Magazine, the New York Times, and Art News, and by writers such as Thomas Hess, Barbara Rose, Clement Greenberg, William Seitz, and Irving Sandler.

The decade of the 1960s was an important period of transition for McNeil. In the early 1960s his forms—while still equally textural, rich, and complex—in many cases carried figural as well landscape associations. Frequently the titles of these paintings—such as Pamplona, Bosra, or Rhoda—echo this transition. McNeil made several trips abroad in the ‘60s and began to experiment with making plein-air landscapes at sights where important Impressionist landscapes had been painted. Of course, McNeil’s versions bear no resemblance to his predecessors’. Instead, as demonstrated in paintings like Les Bruyeres, and Le Raincey, they are boldly colorful, raw, spontaneous, unedited, utterances in thicker than thick oil paint. Modest in size, each of them captures a moment while packing a visual wallop.

This was a pivotal decade for McNeil during which the figure emerged and became identifiable. By the end of it, the figure had become more fully sensate in McNeil’s work; nonetheless, the expression remained an abstract vehicle used by the artist as an additional tool in his visual language. These evocative transitional works, including Ballet Dancer #8 and Bather #25, led the way to the emotionally charged Neo-Expressionist canvasses that became McNeil’s hallmark in the 1970s, ‘80s, and ‘90s.

George McNeil’s late century, riotously expressed Neo-Expressionist works complete the exhibition and they demonstrate a culmination of McNeil’s artistic prowess. In paintings such as Now Street #2, 89 West 6th Street, and St. Marks Place, McNeil integrates figurative expression with a gritty urban landscape, successfully capturing a fully realized synthesis of his creative ambition, while also conveying an indelible rendering of both time and place.

ACME Fine Art is located at 450 Harrison Avenue in Boston’s SoWa Arts District, and is open from 11:00am to 5:30pm Tuesday through Saturday. GEORGE McNEIL: ABOUT PLACE will be on view at the gallery from 9 January through 21 February 2015. It will also be on view online at www.acmefineart.com.

 

STILL LIFE INVITATIONAL 2014

Stubbs, Still Life with Fruits (PTO30) 1960, casien on masonite, 12.75x15.75_Show2014

In time for the Holiday Season, ACME Fine Art will mount a group exhibition of still life paintings made by a select group of 20th and 21st century artists. The exhibition is titled STILL LIFE INVITATIONAL 2014, and it will open on Friday, 7 November 2014, and will be on view through Saturday, 3 January 2015. An Opening Reception will be held in conjunction with SoWa First Fridays from 5:00 to 8:00 p.m. on the 7th of November.

The exhibition will feature a fine group of paintings and sculpture that were hand selected by Gallery Director David Cowan. Cowan has included fresh artwork by popular Gallery Artists: Kenneth Stubbs, Lester Johnson and George Lloyd, as well as new work by contemporary artists: Mike Wright, Donald Beal, and Richard Baker. Rounding out the lineup will be a small group of elegant mid-century modern paintings from an important local collection by noted modernist James Lechay.

Art Historians credit Dutch and Flemish painters of the 17th century with creating the first important artworks in the still life genre. The tradition of still life painting flourished throughout western art for centuries thereafter, with important examples painted by such esteemed artists as Brueghel, Chardin, Cezanne, Braque, Gris, and Lhote. The genealogy of American still life painting dates from as early as the 18th century, and its lineage includes works by such artists as Copley, Peale, Harnett, Hartley, O’Keefe, and Demuth.

The artwork selected for ACME Fine Art’s STILL LIFE INVITATIONAL 2014 spans from the early 1950s through today, and ranges stylistically from Cubism, to Abstract Expressionism, to Magic Realism and beyond. For Precisionists and Expressionists alike Cubism played an important role in modern American still life painting and sculpture. Early in the 20th century many American artists went abroad to study with artists like Lhote, Ozenfant and Leger, and brought the avant-garde style back home with them, subsequently affecting- through influence and teaching- an entire generation of modernists in the U.S.

For the Cubists painters, the still life was a perfect point of departure to display the multifarious points of view absorbed by the picture plane of their canvases. American artist/teacher Ambrose Webster, whose Fauvist canvases were exhibited in the Armory Show of 1913, studied with Lhote in France in the 1920s. Shortly thereafter he opened his School of Modern Painting in Provincetown Massachusetts, and it became an important point of dissemination for Cubism. For Webster’s protégé Kenneth Stubbs -perhaps Webster’s most important student- the still life became one of his primary subjects. Three of Stubbs’ still life paintings –rarely seen since they were originally exhibited in the 1950s- will form the locus mundi of this exhibition.

Hans Hofmann is often credited with being the most influential teacher of artists in the last century. Given his roots in European Cubism, it is perhaps not surprising that Hofmann’s teaching method invariably involved the still life. Hofmann’s students –regardless of where their journey to artistic maturity may have taken them- interpreted the still life repeatedly as an exercise under the maestro’s tutelage. Hofmann’s influence on at least two generations of American painters was enormous both directly and indirectly. Although Lester Johnson did not study with Hofmann, Cameron Booth and Alexander Masley –Johnson’s early teachers- both did. The Expressionist still life that evolved during the late 1950s and 1960s can be seen in the paintings of Lester Johnson, and James Lechay, and when it collides with a Post-Modern approach to Cubism, in the paintings of George Lloyd (who studied with Johnson at Yale) and in the constructions of Mike Wright. Richard Baker and Donald Beal may appear at first glance to be more traditional in their approaches; however, both of these contemporary artists use traditional techniques to coax the viewer to a place beyond the mere ordinary reality.

ACME Fine Art’s STILL LIFE INVITATIONAL 2014 will be on view from 7 November to 3 January 2015 in our Harrison Street Galleries, and also on view at www.acmefineart.com and on our ARTSY site: https://artsy.net/acme-fine-art. For further information about the exhibition or the artists please contact the gallery at info@acmefineart.com or 617.585.9551.

LESTER JOHNSON: CLASSICAL THEMES at ACME Fine Art

Dancers 1966 oil on canvas 26 x 40

ACME Fine Art will open the Fall season with an exhibition of large and important canvases by the Figurative Expressionist master, Lester Johnson. The exhibition, titled Lester Johnson: Classical Themes, will open on Friday, 19 September, and will be on view through Saturday, 25 October 2014. A reception in conjunction with SoWa’s First Friday festivities will be held on Friday, 3 October between 5:00 and 8:00 in the evening.

This will be ACME Fine Art’s fourth solo exhibition of Lester Johnson’s work and it will feature nine seminal oil paintings from what was a pivotal decade for Johnson: the 1960s. During the 1960s the Martha Jackson Gallery in New York, and the H.C.E. and the Sun Galleries in Provincetown were frequent venues for Johnson’s contemporary work. It was also during this decade that Johnson’s paintings were selected for inclusion in groundbreaking exhibitions at the Smithsonian Institution, the Museum of Modern Art, and the Whitney Museum of American Art. His canvases from this period are bold and vigorously expressive regardless of scale, and they demonstrate a poetic virtuosity that became Lester Johnson’s hallmark.

The paintings selected by Gallery Director David Cowan for this exhibition demonstrate the artist’s interest in classical art and architecture, and they collectively display this thematic thread in Johnson’s paintings from the specific period between 1964 and 1968. Johnson’s interest in classical form can be seen in subject matter, in such paintings as Polykliton Figure, and his brilliant series of Three Graces canvases, and in structural form in monumental paintings such as Milford BathersSilhouette and Archway. Despite the artist’s use of and reference to the antique in these works, it would be a mistake to view them as anything other than trailblazing statements in the Figurative Expressionist movement.

Lester Johnson is one of a handful of avant-garde artists who abandoned non-figurative painting in the 1950s in order to harness the power of the human figure as a primary vehicle for artistic self-expression. Today, Johnson is recognized as one of the most important and influential painters of his generation. Since his first solo exhibition at New York’s Artists Gallery in 1951, Johnson’s work has been featured in more than 100 solo exhibitions, and included in important group exhibitions at the Pennsylvania Academy of Fine Arts, Whitney Museum of American Art, Solomon R. Guggenheim Museum, Museum of Modern Art, Art Institute of Chicago, and the Museum of Fine Arts, Boston, to name just a few. Lester Johnson’s work is in the permanent public collections of the Metropolitan Museum of Art, Museum of Modern Art, National Museum of American Art, Solomon R. Guggenheim Museum, Carnegie Museum of Art, and the Fogg Art Museum at Harvard University.

Exhibition catalogues are available through the gallery, and the entire exhibition is viewable on line both at www.acmefineart.com and at ACME Fine Art’s ARTSY web site. For more information about the exhibition or the artist please contact the gallery at info@acmefineart.com or 617.585.9551.

SUMMER SALON 2014

ACME McNeil Kips Bay edited
George McNeil (1908-1995) Kips Bay, 1966, oil on panel, 11 3/4 x 15″

This year ACME Fine Art will for the first time open the gallery’s ever-popular annual Summer Salon exhibition in the gallery’s new exhibition space at 1 Thayer Street / 450 Harrison Avenue in Boston’s South End. The exhibition will open on Friday, 11 July. A reception will be held in conjunction with SoWa’s First Friday events from 5:00 to 8:00 on the evening of Friday, 11 July. The exhibition will be on view through Saturday,16 August. Please note that the gallery will be closed from 4 July through 7 July in celebration of the holiday.

Lipsky Fusillade
Pat Lipsky (1941- ) Fusillade, 2005, oil on canvas, 52 x 79 3/4″

This year’s Summer Salon will feature a variety of summer-themed artworks created during the twentieth century at New England’s renowned summer art colonies, as well as a selection of important works reprised from gallery and museum exhibitions of the 2013/2014 season. Highlights will include a beautifully expressive, fully abstract oil on paper by Hans Hofmann, a monumental canvas by contemporary painter Pat Lipsky, and an important oil painting from the mid-1960s held over from our critically acclaimed recent exhibition of works by Jack Tworkov. Other artists whose artwork will form a part of the exhibition include: Edwin Dickinson, Michael Loew, George McNeil, Charles Littler, Kenneth Stubbs, Dorothy Eisner, Maurice Freedman, Hayes Ownby, Panos Ghikas, William Freed, Lillian Orlowsky, Sharli Powers Land, Philip Malicoat, Daniel Brustlein, Robert Beauchamp,Tony Vevers, and Lester Johnson. Sculpture by Gilbert Franklin, Ilya and Resia Schor, and paintings by contemporary artists, Rose Basile, Myrna Harrison and George Lloyd will round out the exhibition.

Untitled 1962
Hans Hofmann (1880-1966) Untitled, 1962, oil on paper, 23 5/8 x 11″

ACME Fine Art’s 12th Annual SUMMER SALON exhibition will open on Friday 11, July 2014 and will be on view through Saturday, 16 August 2014. This will be ACME Fine Art’s firstSummer Salon at 1 Thayer Street / 450 Harrison Avenue in Boston. Parking is available at the Albany Street parking lot at the south end of the building. Please contact the gallery at 617.585.9551 or info@acmefineart.com for further information about exhibitions or artists. Summer Gallery Hours are 11:00 a.m. to 5:00 p.m. Wednesday through Saturday and by appointment.

 

 

JACK TWORKOV: CONSTELLATION OF A PICTURE AT BOSTON’S ACME FINE ART

PREVIEW TO BENEFIT FINE ARTS WORK CENTER IN PROVINCETOWN ON MAY 1

Tworkov FAWC Invitation

EVENT LISTING:
Friday, May 1
6:00 – 8:00 pm – Reception and Preview
JACK TWORKOV: CONSTELLATION OF A PICTURE
Boston Exhibition Featuring Rarely Shown Works
Special Guest Pulitzer Prize-winning Author Paul Harding
ACME Fine Art
450 Harrison Avenue, in the heart of Boston’s SoWa District
Boston, MA 02118
Tickets $75 (Premium Tickets also available)
FMI: 508-487-9960 x101 / www.fawc.org
__________________________________________________

To Purchase Tickets
FAWC Press Release