Press Releases

Press Releases issued by Acme Fine Art


Constellation of a Picture, an exhibition of paintings by Jack Tworkov, will open to the public at ACME Fine Art on Friday, 2 May 2014. A reception will be held from 5:00 to 8:00 p.m. in conjunction with SoWa Boston’s May First Friday celebration. The exhibition will be on view through Saturday, 21 June 2014. A special exhibition preview event to benefit the fellowship program of the Fine Arts Work Center will be held at the gallery on Thursday 1 May 2014. For more information about the preview, the Fine Arts Work Center, or to purchase tickets please see

This is ACME Fine Art’s third solo exhibition of artwork by Jack Tworkov. For this exhibition Gallery Director David Cowan has assembled a group of paintings from 1966 and 1967 that are meant to document and display a very brief but important period in the painter’s output that saw him transition from a pure Abstract Expressionist approach to the minimal / geometric mode of expression that became his hallmark during the final fifteen years of his life. The group of paintings from 1966 and 1967 that form the exhibition are tightly connected unknown gems from the artist’s estate that -with one or two exceptions- have never been exhibited publicly prior to this exhibition. This suite of eight monumental paintings collectively bridges the formal and painterly gap between the emotionally powerful Abstract Expressionist masterpieces that brought Tworkov to prominence in the 1940s and 1950s and the more quiet, cerebral constructs that became the artist’s late career focus in the 1970s and early 1980s, and which formed the basis of his one-man show at the Solomon R. Guggenheim Museum in 1982.

The title of the exhibition –Constellation of a Picture- is taken from Tworkov’s own words. In the artist’s statement that Twokov made in conjunction with an exhibition at the Gertrude Kasle Gallery in Detroit in 1966, he said: It would appear to be inapt to look at these pictures with the aid of the clichés and platitudes that surround the worlds ‘abstract expressionism.’ There is not much in these paintings that could be understood in such terms as ‘action painting’ or ‘self-expression.’ The thematic material is non-formal, non-geometric; but the paintings are composed, self-contained, even understated. (Thematic material refers to the total constellation of a picture in which color, handling, mood, shape is included.) These are large paintings that command the viewer’s attention by virtue of their size and scale, and yet they captivate the viewer and hold his/her attention by virtue of the sensitively subtle, and compelling personal intimacy that they evoke. They are a sensual tour de force, and while there are obvious connections between what came before and what came later, seen as a group they are also essentially unique. Two powerful examples are SOUND, 1966 (oil on canvas, 80 x 71”) and MALLARY, 1966 (oil on canvas, 64 x 52”.) In SOUND, Tworkov created what at first appears to be a singular primal undulating gesture, which, upon inspection, is made up of a multitude of carefully choreographed small gestures that flow collectively –even dynamically- through the viewer’s field of vision, and beyond. MALLARY, was made as the inscription on the back of the canvas states: “after a drawing for Mallary sketch #5 P-town Summer 1966.” The painting is dedicated to the American Neo-Dadaist / Junk Artist, Robert Mallary, who also was a pioneer of the use of computers in making art. In both of these paintings Tworkov manages to orchestrate scale, gesture, and form, in a grand fashion to catch the viewer’s attention and hold it, engaging the head and the heart.

Jack Tworkov was born on the cusp of the twentieth century in Biala, Poland, emigrated to the United States in 1913, and went on to become one of America’s most important and influential modern artists. Tworkov is perhaps best known as one of the original action painters in New York in the 1940s and 1950s. His arrival at avant-garde Abstract Expressionism as his means of expression came following a perhaps surprisingly traditional education that included study at the National Academy of Design with Charles Hawthorne, at the Art Students League with Boardman Robinson and Guy Pene du Bois, and in Provincetown Massachusetts with Ross Moffett.

Although he had exhibited with the Societe Anonyme in New York as early as 1929, and was employed in the easel division of the WPA from 1935 to 1941, significant notoriety for Tworkov did not come until the mid-1940s in conjunction with his exploration of abstraction. Following a hiatus from painting from 1941 to 1945 to support the war effort, Tworkov began exhibiting his abstract work at Charles Egan’s Manhattan gallery in 1945. Famous as one of the premiere galleries to exhibit the work of abstract expressionist artists in the early years, Egan also represented Franz Kline, George McNeil, Willem de Kooning and Giorgio Cavallon in the late 1940s and/or early 1950s. Egan mounted annual solo exhibitions of Tworkov’s work between 1945 and 1954, and it was during this timeframe that Tworkov developed his mature abstract expressionist voice, thereby establishing himself as one of the few true first-generation abstract-expressionists.

Today, Jack Tworkov’s work is in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum of Art, Pennsylvania Academy of Fine Arts, San Francisco Museum of Modern Art, Baltimore Museum of Art, and the Phillips Collection, to name just a few. The Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Baltimore Museum of Art, and the Walker Art Center Minneapolis, MN have all mounted solo exhibitions of Tworkov’s work. Most recently retrospective exhibitions of Tworkov’s work have been mounted at the U.B.S Gallery in Manhattan and at the Provincetown Art Association and Museum in Massachusetts.

ACME Fine Art’s exhibition: Jack Tworkov: Constellation of a Picture will be on view from 2 May to 21 June 2014 at the 450 Harrison Avenue, Boston gallery. Catalogues are available through the gallery, and the entire exhibition will be viewable at Please contact ACME Fine Art for further information about this exhibition or Jack Tworkov. Tickets for the Fine Arts Work Center special exhibition preview may be purchased at

Tworkov FAWC Invitation



Press Release


An exhibition of six important works of art by renowned Boston artist Panos Ghikas (1924-2012) will open at ACME Fine Art on Friday 21 March and will be on view through Saturday, 26 April 2014. This exhibition will be located in ACME’s Front Gallery, and will run concurrently with the Artists of the James Gallery exhibition. A reception in conjunction with both exhibitions will be held on Friday 4 April from 5:00 to 9:00 p.m.

Panos Ghikas was an artist trained in the classical tradition, and he became a master of technique in a variety of media. He earned his M.F.A. from Yale, and from there went on to study with Willi Baumeister at the Staatliche Academie de Budenden Kunst in Stuttgart. Almost as soon as his studies were completed he became an educator, and over the course of his career he taught at Phillips Academy, Washington University, Brown University, Harvard University, the Massachusetts College of Art, and at the School of the Museum of Fine Arts in Boston. Ghikas was honored with a Yale Norfolk Fellowship, a MacDowell Fellowship, and a Fulbright Fellowship early in his career, and he went on to have his artwork exhibited at Museums and Galleries across the country including: the Art Institute of Chicago, the Wadsworth Atheneum, the Whitney Museum of American Art, the Addison Gallery of American Art, and Boston’s Institute of Contemporary Art, among others.

For this exhibition Gallery Director David Cowan selected works –primarily in the artist’s favorite medium: egg tempera- that span Ghikas’ career and that demonstrate the arc of his development as a painter, while highlighting the formal continuity and consistency of the artist’s aesthetic. His range is impressive considering his transition from the high style Surrealism of his Yale days, to the Cubism that immediately followed the War, to the elegant and refined geometries of his later work.

For further information about Panos Ghikas or about the exhibition please contact the gallery at 617.585.9551 or The entire exhibition will be viewable on line at



For the first exhibition of the 2014 season ACME Fine Art will present a group exhibition of artwork selected by Gallery Director David Cowan. The exhibition will feature the artists Gilbert Franklin, Nanno de Groot, Resia Schor, and Ilya Schor. All four artists are well known to New England art aficionados and collectors because of their connections to the Provincetown artists’ colony. The exhibition will open on Friday 24 January and will be on view through Saturday 22 February 2014. A reception will be held on the evening of Friday, 7 February from 5:00 to 9:00 p.m., and will coincide with SoWa’s First Friday festivities.

The exhibition will feature a number of important late canvases by Nanno de Groot, many of which have not been exhibited in more than four decades. A native of the Netherlands, Nanno de Groot emigrated to the U.S. following his service in the Dutch Merchant Marine at the conclusion of World War II. Always an avid draftsman,

de Groot took up painting in a decidedly avant-garde manner almost as soon as he gained access to studio space in San Francisco in 1948. De Groot’s brief career as an artist ended with his untimely death in 1963 at age 50.

De Groot’s early work was highly abstract and vaguely figurative. His artist’s emphatic gesture and his fondness for slathering on gobs of oil paint were among the most prominent features of his early period. De Groot came to prominence shortly after his move to New York in the early 1950s when his paintings were shown at Tanager Gallery, the Bertha Schaefer Gallery, and at the groundbreaking Hansa Gallery in Manhattan. These strikingly expressive abstractions were remarkably sophisticated, yet evocatively primal. Thankfully, both of these characteristics stayed with de Groot as his work progressed into the late 1950s and 1960s.

In 1956 de Groot rented Fritz Bultman’s Provincetown studio for the summer, and almost immediately Provincetown and the Cape Cod landscape began to exert a perceptible influence on his painting. These landscape-based late paintings that were inspired by the fields, forests, flowers, and even the atmosphere of the outer Cape will be the focus of this ACME exhibition. De Groot’s late paintings are vigorously and spontaneously conceived, confidently rendered, visual elegies that beautifully capture the spirit of one of the most creative periods in American art.

An impressive array of modern 20th century sculpture will be an important aspect of this year’s Director’s Choice exhibition. ACME Fine Art is delighted to announce that the gallery now represents the estate of Gilbert Franklin. We are delighted to introduce Franklin by presenting a fine group of his late 20th century bronzes as a part of this exhibition. Franklin’s illustrious career included membership in the National Academy of Design. He was a Fellow and Trustee of the American Academy in Rome, and he won the Prix de Rome in sculpture in 1948. Franklin served as Professor of Sculpture, and Chairman and Dean of the Division of Fine Arts at the Rhode Island School of Design –his alma mater- and also taught at Harvard, Yale, and the University of Pennsylvania during his almost four decade long career in academia.

Franklin’s sculpture was always inspired by nature, particularly the human figure, and while the level of abstraction in his work varied, his interest in the classical sculpture of Greece and Rome is often evident. Franklin said, “I do basically two types of sculpture: one figurative… the other, abstracted forms derived from natural forms found on the Cape, like shells and rocks.” His friend and colleague Michael Mazur described Franklin’s work as “characterized by a love of form, especially those sensual forms of the human body abstracted to very particular, telling, curves and volumes.”

Last summer the Provincetown Art Association and Museum mounted a beautiful, high season exhibition titled Abstract Marriage: Sculpture by Ilya Schor and Resia Schor. Following on the heels of this important museum exhibition we are delighted that we can make selections from the PAAM exhibition a fundamental component of our 2014 Director’s Choice season opener. In addition to PAAM, Ilya Schor’s work has been included in Museum shows in New York, Boston, Chicago and Milwaukee. The Jewish Museum (NYC) honored Schor with a retrospective exhibition in 1965. 

Ilya Schor was a multitalented artist who is perhaps best known as a renowned artist of Judaica. He was also an accomplished jeweler, engraver, painter, and sculptor. Three important sculptures by Schor from the 1950s will be included in this exhibition. Each piece is unique, and is crafted in brass and/or copper in a manner that brings Schor’s skills as a jeweler to the fore. These are meticulously hand wrought pieces. They are exquisitely crafted expressions that demonstrate the artist’s understanding of both Cubism and Abstract Expressionism. While there is frontality to the basic forms, each of the pieces manages to be entirely three-dimensional as well. There is a captivating complexity about Schor’s work that commands and holds the viewer’s attention.

While Resia Schor studied studio art as a young woman in Poland, (Academy of Fine Arts, Warsaw) her sculptural reliefs for which she is now known, were made relatively late in life, when, after Ilya Schor’s death in 1961, she decided to make use of his workshop in the family’s Manhattan apartment. The three pieces that will be a part of the upcoming ACME Fine Art exhibition have an almost Pop sensibility. They are at once both playful and serious, thought provoking and witty, and they –while connected to no specific movement- can be seen as harbingers of Post-Modernism. As with Ilya’s work they are exquisitely crafted expressions that are rooted in the fundamentals of 20th century modernism.

Director’s Choice: GILBERT FRANKLIN, NANNO DE GROOT, ILYA SCHOR & RESIA SCHOR will open at ACME Fine Art on Friday, 24 January 2014 and will be on view through Saturday, 22 February 2014. A reception will be held on Friday February 7, between 5:00 and 9:00 p.m. The entire exhibition will be viewable on-line at .





HANS HOFMANN Early Drawings

HH Untitled.14929

ACME Fine Art will conclude the gallery’s 2013 season with an important exhibition that consists of a group of sixteen rare drawings by one of Abstract Expressionism’s quintessential teachers and practitioners: Hans Hofmann. The exhibition will open with a reception from 5:00 to 9:00 p.m. on 1 November 2013 in conjunction with SoWa Boston’s First Friday festivities, and it will run through Saturday 11 January 2014.

The drawings featured in the exhibition were created by Hofmann between the late 1930s and the mid-1940s when he was teaching at his eponymously named schools in New York and Provincetown. Most of the featured drawings were made in Provincetown and many are, in fact, plein air landscape sketches of Truro and Provincetown that depict dune, town, railroad, and harbor scenes. Some were drawn from Hofmann’s well used roadster, and cleverly capture the car’s steering wheel and windshield in the foreground. Other drawings are figure based abstractions drawn from the model. All of them brilliantly manage to bridge the gap between Hofmann’s cubist roots and the then avant-garde Abstract Expressionist movement that at the time had yet to be definitively named. All of the drawings are an education for the eye, and the vast majority of them have never been exhibited before. Regardless of their age, this group of drawings –both singularly and collectively- convey the spontaneity of expression and the vitality of spirit that are the hallmarks of Hofmann’s most important work.

Concurrently in the gallery’s Front Room, ACME Fine Art will present an outstanding small group of figure drawings by distinguished mid-century artists Seong Moy, Haynes Ownby, Myrna Harrison, William Freed and Lillian Orlowsky that were made under Hans Hofmann’s tutelage between 1937 and 1952. The exhibition is titled Figure by Four. Each drawing making up the exhibition was made in charcoal on the 25 x 19 inch paper that was a common format for students in the Hofmann program. The stylistic diversity of this group of works demonstrates both Hofmann’s ability to customize his critique in dialogue with students, and the ability of these particular artist/students to respond successfully in their own unique voices.

The exhibitions: HANS HOFMANN Early Drawings and Figure by Four will both be on view in the gallery from 1 November to 11 January and will also be on view on- line at For further information about the artists or the exhibitions please contact the gallery at 617.585.9551 or ACME Fine Art is now located at 1Thayer Street at 450 Harrison Avenue in Boston’s South End. Free parking is available. Gallery hours are 11:00 a.m. to 5:30 p.m. Wednesday through Saturday and by appointment at your convenience.


CHARLES LITTLER: 1950s and 1960s

Littler.Untitled AbstractACME Fine Art’s first exhibition and opening reception of the 2013 Fall Season will also mark the Grand Opening of the gallery’s new location at 1 Thayer Street in Boston’s SoWa Arts District. ACME’s new street level gallery space is located at the corner of Harrison Avenue and Thayer Streets in the South End. The Opening Reception will coincide with SoWa’s regular First Friday events on Friday, 6 September 2013 from 5:00 to 9:00 p.m.

True to the gallery’s ongoing commitment to showcase important American artists of the 20th century, the premiere exhibition in ACME Fine Art’s new gallery space will be a select group of paintings and drawings made in the 1950s and 1960s by noted Abstract Expressionist artist Charles Littler. Littler was a New York School practitioner who emerged from his studies with Hans Hofmann in New York and Provincetown in the early 1950s with a fully articulate and masterfully elegant mode of visual expression that won the immediate respect of his colleagues. In 1952, he, along with Jim Gahagan, founded the James Gallery on 10th Street in Manhattan. The James Gallery is noteworthy for being among the first of a number of important artists’ cooperative galleries that championed Abstract Expressionism in the early 1950s. During this period, Littler’s artwork was featured in solo exhibitions at the James Gallery and the Glidden Gallery in New York, and was also included in a number of group exhibitions at venues such as the New York Center Gallery and at the prestigious149th Annual Exhibition of the Pennsylvania Academy of Fine Arts.

In 1957 Littler abandoned the New York art scene and moved to Tucson Arizona, where he taught at the University of Arizona for the next twenty-six years. During this period Littler’s artwork was included in numerous group exhibitions throughout the Southwest, and he was honored with solo exhibitions at the Tuscon Art Center, the Ohio University Art Gallery, and at the University of Arizona. Littler considered his most important artistic accomplishment, however, to be the founding of a communal residential artists’ environment in Oracle Arizona called Rancho Linda Vista. To quote him, “my view of Rancho Linda Vista is that it’s a work of art, initiated by me and executed collaboratively by many members, past, present, and future.” Today –now in it’s third generation- the community that Littler initiated is still thriving.

This will be ACME Fine Art’s second solo exhibition of artwork by Charles Littler. For this exhibition, Gallery Director David Cowan has selected a group of paintings and drawings that span, not only Littler’s transition from east to west, but also demonstrate the artist’s transition from pure Abstract Expressionism to the Figurative Expressionist idiom that seems to have come naturally in conjunction with his relocation from New York to Arizona. It is likely no coincidence that while Littler’s artwork was trending figural, the Figurative Expressionist movement associated with his artist colleagues Jan Muller, Lester Johnson, George McNeil, Robert Beauchamp and Bob Thompson was emerging in avant-garde circles in New York and in Provincetown.

ACME Fine Art’s exhibition: CHARLES LITTLER: 1950s and 1960s will be on view from Friday, 6 September through Saturday, 19 October 2013. New gallery hours are Wednesday through Saturday, 11:00 a.m. until 5:30 p.m. and by appointment. For further information about the exhibition, artist, or the gallery please call 617.585.9551 or contact us at


Picture 0895 July – 17 August, 2013

This year ACME Fine Art will open the gallery’s much-anticipated annual Summer Salon exhibition in new digs at 450 Harrison Avenue, Suite 308 in Boston’s South End. The opening will coincide with SoWa’s First Friday events on Friday the 5th of July, and the gallery will be open from 3:00 to 8:00 on that evening. The exhibition will be on view through Saturday 17 August.

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 Gallery Director David Cowan’s personal favorite works reprised from gallery and museum exhibitions of the 2012/2013 season. Highlights will include a very rare, early watercolor of the Provincetown waterfront by Edwin Dickinson, a mid-career gem titled Polynesian I (small version) by Hans Hofmann, an important oil painting titledSeaside Holiday by Kenneth Stubbs that was featured in the recent Tides of Provincetown exhibition mounted by the New Britain Museum of American Art, and an oil painting by Dorothy Eisner from her celebrated Croquet Series that was created on Cranberry Island, Maine during the 1970s. Other artists whose artwork will form a part of the exhibition include: Michael Loew, Charles Littler, Myrna Harrison, Haynes Ownby, George Lloyd, William Freed, Lillian Orlowsky, Maurice Freedman, Panos Ghikas, Daniel Brustlein, and Jack Tworkov.

Timed to coincide with what promises to be a blockbuster exhibition titled Pioneers of Provincetown that is being mounted this summer by the Provincetown Art Association and Museum, this year’s Summer Salon will also include a number of significant artworks by artists who will be featured in the PAAM exhibition. The theme of the PAAM exhibition is “the genesis of the Figurative Expressionist Movement in Provincetown.” In concert with this, ACME Fine Art will feature Figurative Expressionist works by such pioneers of that movement as Jan Muller, Lester Johnson, Tony Vevers, Jay Milder, and George McNeil.

ACME Fine Art’s 11th Annual SUMMER SALON exhibition will open on Friday, 5 July 2013 and will be on view through Saturday, 17 August 2013 at the gallery’s interim location: 450 Harrison Avenue, Suite 308, Boston, MA 02118. Parking is available. Please contact the gallery at 617.585.9551 or for further information about exhibitions or artists. Summer Gallery Hours are 11:00 a.m. to 5:00 p.m. Wednesday through Saturday.


Deck of Emma Bakke, 1953, oil on panel, 16 x 20

Mary Hackett – Deck of Emma Bakke, 1953, oil on panel, 16 x 20

13 April – 25 May, 2013

INTERIORS is the title of a six-artist group exhibition that will open at ACME Fine Art in Boston on Saturday, 13 April 2013. The exhibition will feature classic paintings by twentieth century modern artists who practiced in Provincetown as well as cutting edge contemporary artwork created specifically for this exhibition by artists who have been fellows at the Fine Arts Work Center in Provincetown. The exhibition will be on view through 25 May, 2013 at the gallery and on-line at

The six artists included in this distinguished group are:

Maurice Freedman was very much a “mid-century modern” artist. Freedman’s brilliantly colorful paintings of interior scenes at once visually recall his study with Max Beckman during the first half of the twentieth century and at the same time illuminate his own personal outward-looking experiences of both Provincetown and his studio in New York. His work expressively captures both time and space.

Mary Hackett was a self-taught painter and longtime resident of Provincetown. Her scenes of everyday life contain numerous symbolic and memory-laden objects placed in an often naïvely constructed space that together create an autobiographical narrative that is so compelling that Hackett has developed a formidable cult following among those fortunate enough to know and collect her rare creations.

Sharli Powers Land was a fellow at the Fine Arts Work Center in 1969-‘70. Her boldly evocative paintings have an uncanny appeal with a dynamic composition and a palette that is downright explosive. Land’s interior views capture a sense of place while often making reference to a place in time through the incorporation of formal references to her contemporaries such as Mary Hackett and Myron Stout.

Samuel Messer was a fellow at the Fine Arts Work Center in 1981. Messer is currently Associate Dean of the Art program at Yale University. His interior portraits are wildly expressive paeans to his subject. They convey an all-encompassing vision of their sitter through the loosely rendered likeness that is central to the composition and through the complex interior environment created by Messer.

Meghan Gordon was a recent fellow at the Fine Arts Work Center. Gordon’s artwork relies heavily on art-historical research. She creates paintings/drawings, objects, film, and installations that create an alternative art history that actively engages and challenges the observer. The interior is consistently a crucial theme and component of Gordon’s artistry.

Paul Kelly is a contemporary artist living in Provincetown whose subject matter is most often Cape related. Kelly’s paintings have an elegantly edited quality both in palette and in composition. The resultant views appear both true to their location and completely abstract, simultaneously. Like Freedman, this artist is interested in the view through the opening; however, in Kelly’s interiors all but the essential has been eliminated.

Beyond the obvious links having to do with the outer Cape, the INTERIORS exhibition will explore common threads in the genre as evidenced in the works by these six important 20th and 21st century artists. Some of the common threads are: visual and formal interests in the relationships between inside and out vis-à-vis the notion of containment, the use of personal objects as symbols and the meanings associated with them, the manipulation of perspective to enhance a sense of space and volume, the introduction of historical references and the connections such references make with the observer, and how the introduction of the figure –portrait or self-portrait- animates the interior.

A special Exhibition Preview Event to benefit the Fine Arts Work Center will be hosted by the Galleries at 38 Newbury Street on Friday 12 May. Drinks and hors d’oeuvres, catered by MAX Ultimate Food, will be served between 6:00 and 8:00 p.m. In celebration of National Poetry Month, special guests at the event will also include Robert Pinsky, US Poet Laureate (1997-2000), and poet John Murillo, Fine Arts Work Center writing Fellow (2007-2008). Tickets for the preview can be purchased through the Fine Arts Work Center ( or by phone at 508-487-9960 x 101. Please contact the gallery for further information.


Loew_PTP2013 February – 2 March, 2013

A retrospective survey of watercolors and drawings by noted abstract expressionist artist Michael Loew will open on Saturday 9 February at ACME Fine Art in Boston. A reception from 2:00 to 4:00 p.m. will mark the occasion. The exhibition will be on view through Saturday 2 March at the gallery and on-line at

This will be the third solo exhibition of Michael Loew’s popular abstractions; however, it will be the first that runs across periods in the artist’s body of work, and the first that focuses exclusively on works on paper. The exhibition will be composed of works created between the late 1930s and 1985, and it highlights drawings and watercolors that were made as studies for paintings or murals, as well as finished, stand alone artworks. All stand on their own merit as outstanding examples –not only of Michael Loew’s creative powers- but also, of the artistic spirit of modernism in the twentieth century.

Michael Loew was a master of weaving geometry with nature. He seemed to delight in exploring the limits of nature based abstraction. Throughout his career one can see a back and forth between the almost totally abstract, and the representational. Although it is impossible to say how and where Loew’s modern tendencies originated, it is fair to say that his experiences, his education, and his own interests led him in a distinctly avant-garde direction very early on. On the side of experience, one might point out his collaboration with DeKooning on a 1939 NYC World’s Fair mural that led to a life-long friendship that must have influenced Loew. Certainly, his post war training under one of the most important nature-based abstract expressionists, Hans Hofmann, also proved to have had significant influence. Then, there was his study abroad at the Atelier Leger. Although various influences may have come to bear on Michael Loew, his work is always in his own true voice, and that voice is consistently clear, concise, and elegantly expressive.

Michael Loew’s artistic talents were recognized as early as 1929 when he won the Sadie A. May Travelling Fellowship, and the honors continued with awards such as the National Endowment for the Arts Grant, the Judith Rothschild Grant, and the Guggenheim Memorial Foundation Fellowship. Today, Loew’s work is in the permanent collections of Art Museums such as the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Philadelphia Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Carnegie Institute Museum of Art, and the Albright Knox Art Gallery.

A comprehensive exhibition catalogue including an essay by Susan C. Larsen is available through the gallery. Please contact ACME Fine Art for further information about Michael Loew, or this exhibition.

Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY

ACME Freed Untitled Abstraction #217 November – 22 December 2012

An exhibition of paintings and works on paper titled: Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY will open with a reception from 2:00 to 4:00 p.m. on Saturday, 17 November 2012 at ACME Fine Art’s 38 Newbury Street gallery in Boston. The exhibition has been curated by the Provincetown Art Association and Museum’s Executive Director Christine McCarthy. With the intention of taking a fresh look at the body of work created by the two well-known New York and Provincetown based abstract expressionists, McCarthy focused on works in the artists’ estates that have not been previously exhibited. As a result, in addition to important oil paintings dating from as early as the couple studied with Hans Hofmann; the exhibition will also include a series of large freely executed tempera on paper still-life abstractions, as well as a fascinating group of modern fabric designs from the 1940s and 1950s by Orlowsky.

Lillian Orlowsky and William Freed met while both were Works Project Administration artists in New York in the late 1930s. Orlowsky is credited with introducing Freed to Hans Hofmann shortly after Hofmann established his School of Art in Manhattan, and the couple were among the first of Hofmann’s students to move to Provincetown during the summer months to participate in Hofmann’s School there as well.

Orlowsky and Freed developed lengthy and significant personal and professional relationships with Hofmann while building important careers in the avant-garde world of modern art in their own rights. In the mid-1950s, along with a group that included artists such as Jim Gahagan, Charles Littler, Robert Henry, Haynes Ownby and Myrna Harrison, they formed the nucleus of the James Gallery, an early artists’ cooperative gallery on 12th Street in Manhattan. Since that time, their artwork has been exhibited in numerous commercial galleries and in museum venues. Artwork by Lillian Orlowsky and also by William Freed is in the permanent collections of the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Cape Cod Museum of Art, and of the Provincetown Art Association and Museum to name a few.

The exhibition Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY will be on view at ACME Fine Art from Saturday 17 November through Saturday 22 December 2012. Sales from the exhibition will benefit the Lillian Orlowsky and William Freed Foundation Grant program.

Myrna Harrison: PAINTINGS of the 1950s at ACME Fine Art, Boston

Harrison Chroma17 November – 22 December 2012

ACME Fine Art is pleased to announce that an exhibition of six rare early paintings by Myrna Harrison will open with a Reception from 2:00 to 4:00 p.m. on Saturday, 17 November 2012. The artist will be on hand to discuss her work and meet the public.

The featured works have been selected by Gallery Director David Cowan and are among the most abstract in the artist’s formidable oeuvre. They were created immediately following Harrison’s period of study at the Hans Hofmann Schools in both New York and Provincetown. Several of the paintings were also created during the period when Harrison was studying independently with noted Abstract Expressionist artist and educator, Jack Tworkov, and while studying at NYU with Philip Guston.

This exhibition is designed to coincide with a concurrent exhibition at ACME Fine Art of artwork by Lillian Orlowsky and William Freed who were close friends of Harrison’s. Both exhibitions draw from the same mid-century post-Hofmann experiences of the artists. All three helped form an early cooperative art gallery in Manhattan in the 1950s called the James Gallery. Other artist/members of the James Gallery included Robert Henry, Haynes Ownby, and Charles Littler.

Myrna Harrison is an accomplished artist and educator in her own right. Her artwork has been exhibited widely since the early 1950s is such venues as the Brooklyn Museum of Art, the Washington University Art Museum, and the Cape Cod Museum of Art. Earlier this year she was honored with a retrospective exhibition of her work at the Provincetown Art Association and Museum where she has been a participating member for sixty years. Artwork by Ms. Harrison is in numerous private collections as well as the permanent collections of the Rose Art Museum at Brandeis University, the Phoenix Art Museum, the Provincetown Art Association and Museum and the Cape Cod Museum of Art.

In conjunction with the publication of a monograph about her that was published earlier this year Harrison wrote: Oceans and deserts fascinate me. They share spatial openness, an unending skyline, subtle changes in form and color as the sun moves across the sky, and a demand that we adapt to them. They will not adapt to us. Both have an intense, vibrant presence — which is not surprising: deserts began life as oceans millions of years ago. I want my work to express that vibrant intensity. The monograph is available through ACME Fine Art and through the Provincetown Art Association and Museum as well.

Myrna HARRISON: PAINTINGS of the 1950s will be on view at ACME Fine Art through Saturday, 22 December 2012. Please contact the gallery at for further information about the artist and/or the artwork.