Press Releases

Press Releases issued by Acme Fine Art


ACME Orlowsky Figure Drawing 01Drawings from the Hans Hofmann School of Art, a virtual exhibition of drawings created between 1938 and 1954 in Hans Hofmann’s figure drawing classes can now be viewed online on the ACME Fine Art website.

Hofmann is considered by many to be the foremost teacher of modern painting and drawing technique in the twentieth century. The list of artists who studied with him at his Schools of Fine Art in New York City and in Provincetown Massachusetts contains many of the century’s most well recognized names. ACME Fine Art’s gallery director, David Cowan, has assembled a group of more than a dozen superb drawings by well-known and not-so-well known artists who participated in Hofmann’s figure drawing classes. The artists whose work will be included in the exhibition are: William Freed, John Grillo, Myrna Harrison, Seong Moy, Lillian Orlowsky, Haynes Ownby and Steve Wheeler.

Hofmann’s notion of “plasticity” was one of the primary principles of his theory of modernism. He wrote in his essay The Resurrection of the Plastic Arts that plasticity means “to bring the picture surface to ‘automatic’ plastic response.” This “plastic response” was one of the fundamental aspects of the figure drawing exercise, and this important teaching tool or “exercise” was one used by Hofmann consistently throughout his teaching career. Haynes Ownby -who studied with Hofmann in the early 1950s- described Hofmann’s concept of plasticity by saying, “Plasticity in his theory refers to the lively movement of compositional flat areas toward and from the picture plane, resulting in continuous movement and vitality.” Continuous movement and vitality are certainly hallmarks of the drawings chosen for ACME Fine Art’s virtual exhibition.

Hofmann insisted that all of the drawings be done in charcoal in a 25 x 19″ format. Despite the uniformity of medium and format, the resulting drawings are surprisingly varied. In most cases they reveal early signs that connect directly to the unique expressions that can be seen in each of the artist’s mature later work. The aspect of drawing as a teaching exercise is clearly revealed in a number of the drawings when one sees a diagrammatic sketch by Hofmann outlined in the corner of the sheet. As one might expect, some of the drawings are bold and powerful, while others are lyrically expressed; some are directly, spontaneously conveyed, and others are carefully composed and rendered. What is common to all is the fresh revelation of the modern spirit of each of the artists directly translated and graphically demonstrated.

The works featured in Drawings from the Hans Hofmann School of Art are available to be viewed at the gallery by appointment.




Johnson Polyklyton Head

19 March – April 20130

ACME Fine Art’s third solo exhibition of the work of Lester Johnson will be a memorial to the artist, who passed away late last spring. Johnson was a immensely talented artist who became a primary force in the development of the Figurative Expressionist movement in the second half of the 20th century, and in his position in the Art and Architecture Department at Yale University, he was a dedicated and thoughtful educator of the next generation of artists. LESTER JOHNSON: IN MEMORIAM will be open for viewing from Saturday, 19 March to Saturday, 30 April 2011. ACME Fine Art will host an opening reception on the afternoon of Saturday, 19 March from 2:00 to 5:00. A fully illustrated exhibition catalogue is available through the gallery.

The artwork selected for the exhibition touches on phases of Johnson’s artistic history. The exhibition will be organized as a small-scale retrospective, featuring eighteen important paintings from all phases of this prodigious artist’s more than six-decade-long career. All of the paintings, regardless of period or scale, are bold and vigorously expressive, and they demonstrate the poetic virtuosity and power that became Lester Johnson’s hallmark.

Lester Johnson was one of the relative handful of avant-garde artists who abandoned non-objective 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 at the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, Carnegie Museum of Art, and the Fogg Art Museum at Harvard University.

Speaking about his own work Johnson once offered the following: “There is no balance in my paintings because balance seems to me to be static. Life, which I try to reflect in my paintings is dynamic…. To me my paintings are action paintings –paintings that move across the canvas, paintings that do not get stuck, but flow like time.” To which the noted critic and art historian Dore Ashton added: “And so they did.”

In his essay titled Lester Johnson: A Leading Figurative Expressionist, Charles Giuliano writes, “Lester was striving to find the essence of universal man. The details and specifics failed to engage him. The figure was a metaphor for the turmoil and conflict flowing through him. The resultant works were among the most potent conundrums of his generation.” Mr. Giuliano’s essay is published in its entirety in the exhibition catalogue, and he will be speaking about Lester Johnson in a Gallery Talk at 2:00 p.m. on Saturday, 9 April 2011 at ACME Fine Art.

ACME Fine Art is located at 38 Newbury Street, Boston, MA 02116. Gallery Hours are 11:00 to 5:30 Tuesday through Saturday. The entire exhibition will be viewable online after 18 March at Exhibition catalogues are available for purchase online or by contacting the gallery.


Picture 00914 January – 5 March 2011

ACME Fine Art’s first exhibition of 2011 will be a solo exhibition of mid-career oil paintings by noted twentieth century American modernist George McNeil. This is the gallery’s fourth solo exhibition of McNeil’s work, but the first focused on paintings from this period. In fact, this will be the first exhibition anywhere that is exclusively devoted to McNeil’s paintings from this important pivotal period of his career – at least since the paintings were contemporary, nearly fifty years ago. The exhibition will open to the public on Friday 14 January through 5 March 2011. An Opening Reception will be held at the gallery from 2:00 to 5:00 on Saturday 22 January. A Gallery Talk featuring the artist’s daughter, Helen McNeil, speaking about George McNeil’s life and work will be held on Saturday 26 February at 2:00 p.m.

George McNeil has often been referred to by colleagues and modern art cognoscenti as a painter’s painter. This is undoubtedly reflects their own admiration of and respect for McNeil and the artwork that he produced, coupled with the general lack of awareness of him by the public at large. While never a celebrity, in his day McNeil was well known by those at the center of the avant-garde art world, and he remains a key figure in the history of twentieth century modern art in America. This is borne out by the following partial list of his accomplishments: He was a co-founder of American Abstract Artists (1936). He was one of only 6 artists invited to participate in the World’s Fair Exhibition (1939) who showed non-objective work. A true first generation Abstract Expressionist, he was one of the original Egan Gallery artists along with De Kooning, Kline, Tworkov and Cavallon. He was among the first to move successfully beyond Abstract Expressionism to become a founder of the Figurative Expressionist movement.

It is this transition from Abstract Expressionism to Figurative Expressionism that is the focus of this ACME Fine Art exhibition. For McNeil, the transition began in the late 1950s when Abstract Expressionism had become mainstream, and most first and even second generation practitioners in the movement were realizing the limitations of the Abstract Expressionist idiom. In Jack Tworkov’s case this led to a move towards a more platonic exploration, but for McNeil and other artists such as Lester Johnson, Jan Muller, and Robert Beauchamp, it meant harnessing the power of the human figure, while remaining true to their expressive voices.

The paintings selected for inclusion in this exhibition follow McNeil’s path from his late 1950’s era work -where forms and compositions were beginning to coalesce into vaguely figurative formations- to the late 1960s and early 1970s canvases, where key aspects of the human anatomy became powerful meaning-laden tools for this expressionist master. Also included is an important group of landscape-inspired paintings that McNeil referred to as “abstractscapes.” These date from the mid-1960s and were often painted en-plein-aire, while back in his studio the artist’s work was evolving in a more distinctly anthropomorphic direction. Collectively this group of paintings is a powerfully coherent body of work that beautifully demonstrates George McNeil’s at times poignant transition from the non-objective to figural representation; however, they also speak this artist’s desire to speak more directly to his audience, and they ultimately became the portal through which the Figurative Expressionist or later Neo-Expressionist trail emerged.

A fully illustrated exhibition catalogue with essays by Eleanor Heartney and Helen McNeil is available through the gallery.

ACME Fine Art is located at 38 Newbury Street, Boston MA 02116. Gallery Hours are 11:00 to 5:30 Tuesday through Saturday. The entire exhibition will be viewable on-line after 22 January at .







cavallon-untitled-1947-lgThe ArtLex Art Dictionary defines mosaic as a picture or design composed of small pieces of stone, glass, or paper called tesserae that are inset in a medium or adhered to a surface. The earliest known examples of mosaics date from the 8th century BC. Those examples were created in Mediterranean regions using pebbles. Greek and Roman artists and artisans further refined techniques and craftsmanship used in making mosaics during their centuries in power. Fine later mosaic examples can be seen in the famous Byzantine churches of Ravenna and Istanbul and in Barcelona in the brilliantly idiosyncratic early 20th century masterpiece Parc Güell by Antonio Gaudí. Today the term mosaic is used more broadly, and is frequently used to refer to collaged combinations of aerial photographs or more generically as “compositions made up of a variety of elements.”

ACME Fine Art’s exhibition of paintings opening on 12 November 2010 will be comprised of a group of modern and contemporary American mosaic artworks created from the mid-20th century forward. The tesserae in the examples selected by Gallery Director David Cowan for this exhibition are dabs or swatches of oil or acrylic paint applied to canvas or panel to a totally modern affect. Some of the mosaic paintings in the exhibition are nature-based abstractions. Others are entirely non-objective, and still others can be characterized as neo-plastic compositions. What they all share is the formal conceit of using distinct small pieces composed to create an artistically complete whole.

During the late 1940s and early 1950s a number of artists who were then studying with, or had recently completed their studies with Hans Hofmann, began experimenting with a painting technique in which small distinct dabs of pigment were applied over most –if not all- of the their canvases. Giorgio Cavallon can be credited with being one of the first to study and popularize this genre. Two of Cavallon’s rare 1940s mosaic canvases will be included in the exhibition.

Another artist who was among the first of this circle to explore mosaic composition in his work was John Grillo, who did so in his Provincetown studio as early as the late 1940s. A separate exhibition of twelve of Mr. Grillo’s important and brilliantly colored early mosaic paintings in oil and in watercolor will run concurrently with the aforementioned group exhibition at ACME Fine Art. Grillo explored the possibilities of non-objective mosaic expression well into the 1950s.

Other notable artists whose mid-20th century work will be represented in the group exhibition are William Freed, Robert Henry, Myrna Harrison, James Gahagan, Selina Trieff, and Jan Müller. Müller was an artist’s artist whose early mosaic explorations -in a variety of shapes and scales- were delightfully lyrical fully abstract color poems.  By  the mid-1950s Müller’s tesserae were arranged by the artist into figural compositions that led the way to his becoming one of the pioneers of the figurative expressionist movement.

The formal part-and-whole conceit that goes to the essence of the mosaic as a work of art continues to fascinate artists. This will be demonstrated through a wonderfully diverse group of contemporary artworks that have been assembled for the exhibition. Excellent examples by contemporary artists such as Helen Miranda Wilson, Erik Koch, Paul Bowen, and Aviva Sklan will also be featured.

ACME Fine Art’s group exhibition of mosaic paintings will open with a reception from 6:00 to 8:00 p.m. on 12 November and run through 23 December 2010. For further information please contact the gallery at 617.585.9551.


ACME Grillo Untitled Mosaic 10-12An exhibition of twelve rare mosaic watercolors and oil paintings dating from the early 1950s by noted abstract expressionist artist John Grillo will open on Friday 12 November 2010 at ACME Fine Art in Boston. A reception from 6:00 to 8:00 p.m. that evening will be held at the gallery. This will be Mr. Grillo’s first solo exhibition at ACME Fine Art.

John Grillo was born in Lawrence, Massachusetts in 1917 and was raised in Hartford, Connecticut, where he was inspired to become an artist by an exhibition of portraits that he saw as a teenager at the Wadsworth Atheneum. Grillo’s first formal training was at the Hartford School of Fine Arts from 1935-39 where he studied painting. Grillo suspended his studies between 1944-46 to serve in the U.S. Navy in the Pacific theatre of World War II. At the conclusion of his military service, Grillo enrolled at the San Francisco School of Fine Arts on the GI Bill. While in San Francisco Grillo played a seminal role in forming the San Francisco School of Abstract Expressionism and he is today recognized as one of the most original and influential artists of that movement. In 1948, Grillo returned to the East Coast and entered the Hans Hofmann School of Fine Arts in New York, and later in Provincetown. Grillo went on to take up permanent residence on Cape Cod in the town of Wellfeet where he lives and paints to this day.

In New York during the 1950s, Grillo worked alongside such artists as Willem deKooning, Franz Kline, Mark Rothko, Nanno de Groot, and Lester Johnson. The mosaic paintings that are featured in this ACME Fine Art exhibition were executed between 1950 and 1952 and are a Grillos’ singular, personal, and directly painted response to the concepts espoused by his teacher, Hans Hofmann. Their exuberant spontaneity is immediately evident and they convey an almost contagious joi-de-vivre. Although the underlying structure of these paintings may not be apparent, they are loosely based on a grid structure overlaid with a series of interlocking painterly patches and/or circles of color. The overall effect is deeply emotionally expressive without being chaotic.

Also in the early 1950s, Grillo introduced the notion of the shaped canvas to his work. Two rare examples are featured in this exhibition: Oval Mosaic, a modern interpretation of the Renaissance tondo and Untitled Mosaic, where the artist used a tall trapezoidal wooden ironing board as a substrate. Perhaps these pieces prefigure works by Jasper Johns and Robert Rauschenberg who first began working with shaped canvases later in the same decade.

Although a number of his contemporaries explored the mosaic conceit in their work –Jan Muller and William Freed among them- Grillo was one of the few who painted purely abstract, non-objective mosaic paintings. Although intensely colorful, Grillo’s mosaics seem to emerge from a limited palette, often on a neutral ground with just a few, almost -primary hues. Grillo has said that, “Abstract painting is on a level with music. It’s a physical outburst from your whole being. It’s not the idea that is created and then you start painting. It’s always a challenge to shape something from nothing, to do the impossible.”  Grillo’s affinity with music is evident in the vibrancy and motility of his mosaic paintings.

Grillo’s work is featured in the permanent collections of The Metropolitan Museum of Art, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum of Art, The British Museum, Walker Art Center, Los Angeles County Museum of Art, The Worcester Museum of Art, and the Provincetown Art Association and Museum, among many others.

JOHN GRILLO: THE MOSAIC PAINTINGS will be on view at ACME Fine Art in Boston from 12 November to 23 December 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. The exhibition can be viewed on-line at Please contact the gallery for further information.


Baker Tulip in BottleAn invitational exhibition of works on paper by contemporary artists Charles DuBack, Josefina Auslender, Richard Baker, and Ellen LeBow will open on Friday 24 September 2010 at ACME Fine Art in Boston. A reception from 6:00 to 8:00 p.m. that evening will be held at the gallery with several of the artists in attendance. The exhibition will feature works on paper created using a variety of media and techniques, and ranging in style from pure abstraction to realism. The artists invited to participate in the exhibition by Gallery Director David Cowan exemplify the continuity between the modern tradition that ACME Fine Art has always exhibited and contemporary artworks from the local region.

Charles DuBack was born in 1926 in Fairfield, Connecticut and has been living and working in Maine for the past 40 years. DuBack attended the Brooklyn Museum School and the Skowhegan School of Painting and Sculpture. He worked in New York during the 1950s and early 1960s, sharing a studio building with Bernard Langlis and Alex Katz on 28th Street. DuBack’s works featured in the exhibition come from this time period, the late 1950s. Although these appear non-objective, DuBack takes his inspiration from nature. “I am a realist, all of my work comes directly from nature.” His small, hand colored collages are evocative of the landscape. DuBack’s work has been featured in Recent Paintings at the Museum of Modern Art, the Biennial International Exhibition at The Brooklyn Museum, the Whitney Annual Exhibition of Contemporary American Painting, and, most recently in a solo exhibition at the Portland Museum of Art, Charles DuBack: Coming to Maine.

Josefina Auslender is originally from Buenos Aires, Argentina, where she lived, worked and studied during the early part of her career. She has lived and worked in the United States since 1986 and has been exhibiting frequently throughout Maine, which she now calls home. ACME Fine Art will feature drawings from Auslender’s recent Stendahl Series that consist of dense pattered lines surrounding areas of negative space and outlining volumetric geometric shapes. The abstract spaces she creates exude a meditative, almost spiritual quality and appear influenced by celestial and landscape forms.

Richard Baker’s contemporary still life paintings are illusionistic, yet stylized. Gouache paintings from his tulip series depict the unfolding of the flower and portray the emotional complexities of this occurrence. Hilton Kramer, when considering Baker’s recent realist works concludes that “At his best, he’s as good as Magritte, and his wit is a lot subtler when he confers an atmosphere of anxiety upon objects ordinarily resistant to it-which is to say that Mr. Baker seems to have derived from Surrealism elements of wit and anxiety, but without the vulgarity and showmanship.” Baker lives and works in Brooklyn and Wellfleet, MA, was a Fine Arts Work Center Fellow (Provincetown, MA) and is a graduate of the School of the Museum of Fine Arts, Boston and Maryland Institute College of Art. He has exhibited at the Whitney Museum of American Art, the Provincetown Art Association and Museum, and the Cape Museum of Fine Arts (Dennis, MA).

Ellen LeBow’s monumental ink drawings incised on clayboard are amalgamations of conflicting iconographies ranging from religious to popular culture. Her irreverent images include the angel Gabriel bestowing his blessing upon Disney’s Seven Dwarfs and skeletons dancing with saints. These recent works are a new direction for LeBow, who formerly concentrated on Haitian subjects. LeBow describes these works as “[featuring] the press of a tumbling, cosmic ‘cloud’ packed with characters ‘cannibalized’ from these personal and artistic influences to become a compressed assault of ‘divine messengers’ threatening at once to overpower and exalt the earth-bound life below.” LeBow studied at Pratt Institute and the New York Studio School and currently lives and works on Cape Cod.

WORKS ON PAPER INVITATIONAL will be on view at ACME Fine Art in Boston from 24 September to 6 November 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. The exhibition can be viewed on-line at Please contact the gallery for further information.


ACME Tworkov Untitled CollageAn important exhibition of works on paper by noted twentieth century modernist Jack Tworkov will open on Friday 24 September 2010 at ACME Fine Art in Boston. A reception from 6:00 to 8:00 p.m. that evening will be held at the gallery. The retrospective exhibition will be comprised of paintings, drawings, and collages culled by Gallery Director David Cowan from private collections and from the estate of the artist. Noteworthy examples from the artist’s early years, as well as from his abstract expressionist heyday and his late geometric periods will be on view through 6 November 2010.

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 the Egan Gallery in Manhattan in 1945. Now famous as one of the premiere galleries to exhibit the work of abstract expressionist artists, Egan also represented Franz Kline, George McNeil, Willem de Kooning and Giorgio Cavallon during this period. 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. (Jack Tworkov’s complete curriculum vitae is available on the ACME Fine Art web-site.)

JACK TWORKOV Works on Paper will be on view at ACME Fine Art in Boston from 24 September to 6 November 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. The exhibition can be viewed on-line at Please contact the gallery for further information.


ACME Stubbs Shorescape KS51 Pink TrapezoidTwentieth century American painting from New England’s summer art colonies is the focus of ACME Fine Art’s SUMMER SALON exhibition. The –something for everyone- exhibition is on view through 21 August 2010.

Fourteen artists and over twenty works are included in an exhibition that presents a stylistic cross section of modern art in America. Coastal New England art colonies such as Monhegan Island and Cranberry Island in Maine, and Provincetown in Massachusetts, notably the summer session of the Hans Hofmann School of Fine Art, are the sources for much of the artwork that comprises the exhibition. Figurative and abstract depictions of the New England coastline and the human form prevail. Fine examples by mid-century artists such as: Jack Tworkov, George McNeil, Lester Johnson, Stephen Pace, Giorgio Cavallon, Maurice Freedman, Nanno de Groot, Kenneth Stubbs, Haynes Ownby, Charles Littler, and William Freed are on view. The exhibition also features a fine selection of paintings by late twentieth century and contemporary artists Dorothy Eisner and George Lloyd.

ACME Fine Art and Design is located at 38 Newbury Street, Boston, Massachusetts, 02116. Summer Hours are 11:00 to 5:30 Wednesday through Saturday, and other times by appointment. Telephone, fax, e-mail addresses etc. are available at the gallery website: (ACME Fine Art will be closed for the Independence Day holiday on 4 & 5 July 2008.)


ACME Hawthorne Provincetown Landscape #3On 10 July 2010 an exhibition titled DAYS LUMBERYARD STUDIOS 1914-1972 will open at the newly refurbished galleries of the Fine Arts Work Center in Provincetown. This survey exhibition will feature artwork spanning almost one hundred years that was created by artists who once occupied studios at Days Lumberyard in Provincetown. A broad and eclectic mix of artwork in a variety of media by over twenty artists will be on view.

The Days Lumberyard Studios in Provincetown Massachusetts ranks among the most important incubators for artists of the twentieth century. Two of that century’s most influential teachers –Charles Webster Hawthorne and Hans Hofmann- and many of their students, worked in studios there. In fact, more than one hundred artists had studios at the lumberyard and/or the adjacent Brewster Street annex between 1914 and 1972. Some of the most highly regarded American artists of the time maintained studios at Days for at least one season. Among them were: Edwin Dickinson, Ross Moffett, Charles Hawthorne, Vaclav Vytlacil, Myron Stout, Fritz Bultman, George McNeil, John Grillo, Peter Busa, Robert Motherwell, Lester Johnson, Jan Muller, and numerous others.

Accounts differ with respect to the date that artists began using the studios at Days Lumberyard. Records indicate that Frank Days Sr. acquired the 24 Pearl Street property in 1911. The first evidence of artist’s studios on the property as indicated in town tax records was 1916; however, Ross Moffett’s account claims that he and Henry Sutter were the first to occupy studios there in 1914. Vaclav Vytlacil has been quoted as saying that he paid five dollars per month for his studio rental at Days in 1914 as well. Other early occupants included Charles Hawthorne, Edwin Dickinson, and John Frazier. While artists had discovered the natural beauty of Cape Cod and appreciated the special qualities of the sunlight long before Days Lumberyard came into being, it now seems clear that the development of Days Lumberyard Studios as affordable artists’ studios -in conjunction with the influx of students attending classes at Charles Hawthorne’s and later Hans Hofmann’s schools -was crucial in sponsoring the collegial atmosphere that allowed this community of artists to flourish on the outer Cape. This combination of factors and the active presence of the artists themselves made Provincetown one of the premier and art historically significant Art Colonies in the United States.

In 1972, the Fine Arts Work Center acquired the Days Lumberyard property, and to this day many of the original studios continue to be used as living and work spaces by artists who have been awarded fellowships by the Work Center. The Fine Arts Work Center itself was founded in 1968 by a group of distinguished Provincetown writers and visual artists a number of whom had studios in the original Days Lumberyard. The visual artists who founded the Fine Arts Work Center include Jack Tworkov, Myron Stout, Salvatore Del Deo, Gil Franklin, Philip Malicoat, Fritz Bultman, and Robert Motherwell. The Fine Arts Work Center is a non-profit organization dedicated to continuing the same tradition and spirit of artistic creativity that was engendered by the artists of Days Lumberyard so many years ago. The Work Center has awarded over 800 fellowships to emerging writers and visual artists over the past forty years.

The Fine Arts Work Center exhibition Days Lumberyard Studios will be curated by David Cowan and James Bennette, of ACME Fine Art in Boston, a gallery that specializes in twentieth century art by Provincetown artists. The artwork comprising the exhibition will be drawn from private sources and from ACME Fine Art and other galleries in the region. All of the artwork will be for sale to benefit the Fine Arts Work Center, Provincetown.

The Hudson D. Walker Gallery at the Fine Arts Work Center is located at 24 Pearl Street in Provincetown, MA. Gallery hours are Monday – Friday, 1-5pm; Satruday & Sunday, 11am-3pm.


ACME Stout Untitled21 May – 3 July, 2010

On Friday 21 May 2010 a group exhibition honoring the founding artists and writers of the Fine Arts Work Center, Provincetown will open at ACME Fine Art in Boston. An opening reception will be held from 6:00 to 8:00 p.m. that evening, and is open to the general public. The exhibition will be on view through Saturday, 3 July 2010.

The Fine Arts Work Center is a not-for-profit organization based in Provincetown Massachusetts that is today the single largest provider of fellowships to emerging visual artists and creative writers anywhere. It was founded in 1968 by a group of artists, one writer, and a group of patrons who all had longstanding connections to the famous art colony located on Cape Cod’s outer reaches. The founding writer was prizewinning laureate Stanley Kunitz. The group of founding visual artists includes Robert Motherwell, Jack Tworkov, Myron Stout, Jim Forsberg, Philip Malicoat, Fritz Bultman, Richard Florsheim, Romanos Rizk, and Salvatore Del Deo. Fine examples of work by each of the founding artists will make up this important commemorative exhibition.

In assembling artwork for the exhibition ACME Fine Art’s Gallery Director, David Cowan, has focussed on obtaining excellent examples that are contemporary with the founding of the Work Center, with the intention of capturing a snapshot of the creative spirit in Provincetown at that particular moment in time. Likewise, Salvatore Scibona, the Writing Coordinator for the Fine Arts Work Center, has selected passages from the work of Stanley Kunitz that speak to the period but also relate in a meaningful and specific way to the artwork on display. The selected passages will share the walls with the artwork.

A special exhibition preview party to benefit the Fine Arts Work Center in Provincetown will be hosted by the Galleries at 38 Newbury Street on Thursday 20 May. On this occasion, the group of patrons that were instrumental in founding the organization will also be honored. They include Hudson, Ernest Vanderberg, Josiah Child, and Munro Moore. Founders Salvatore Del Deo and Josephine Del Deo are the Honorary Hosts for the event and they will be honored on this occasion as well. Drinks and hors d’oeuvres will be served between 5:30 and 7:30. Tickets are $50.00 p.p. and can be purchased through the Fine Arts Work Center ( or ACME Fine Art (
For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at

ACME Fine Art and Design is located in Boston’s Back Bay at 38 Newbury Street, Boston, Massachusetts, 02116. Gallery hours are 11:00am to 5:30pm Tuesday through Saturday.