PREVIEW TO BENEFIT FINE ARTS WORK CENTER IN PROVINCETOWN ON MAY 1
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
On Friday, May 1, Boston’s ACME Fine Art on Harrison Avenue will host a special preview of Jack Tworkov: Constellation of a Picture, a solo exhibit featuring unknown gems from the artist’s estate, most of which have never been shown publicly. The distinct group of ten paintings, mostly done between 1966-1967, bridges the formal gap between the emotionally powerful abstract expressionist masterpieces of Tworkov’s early work and the cerebral constructs of his later paintings.
Jack Tworkov (1900-1982) was a founding member of the New York School and Chairman of the Department of Art at Yale University. He is regarded as one of the prominent figures of the abstract expressionist movement in America – along with Willem de Kooning, Phillip Guston, Jackson Pollock and Franz Kline. The exhibition preview and reception will benefit the Fine Arts Work Center in Provincetown, of which Tworkov was also a founder. Pulitzer Prize-winning author Paul Harding(Tinkers) and Fine Arts Work Center writing Fellow (2000-2001), will attend the event as this year’s special guest. General ticket admission to the evening is $75 with Premier tickets also available. All proceeds, as well as a percentage of art gallery sales throughout the exhibit (through June 21, 2014), are earmarked to support the Work Center’s Fellowship Program for emerging visual artists and writers. Complete event details are available at https://fawc.org or by calling (508) 487-9960 x101.
ACME owners David Cowan and James Bennette have selected ten large Tworkov paintings that command the viewers attention by virtue of their size and scale, while also bringing attention to the sensitively subtle and compelling personal intimacy that they evoke. Since their move last September, this will be the fifth exhibit at ACME Fine Art’s new location at 450 Harrison Avenue in the heart of the SoWa District in Boston’s South End. “We’re thrilled to be hosting this annual event at our new location, which is a hub of creative energy and a center for Boston’s artistic community,” says co-owner David Cowan. “The May 1 preview and benefit is a great opportunity to explore our colorful and vibrant neighborhood, while also supporting Fine Arts Work Center, Provincetown’s celebrated Fellowship residency program for artists and writers.”
In addition to receiving a Pulitzer Prize for his 2010 debut novel Tinkers, special guest Paul Harding is also the author of the acclaimed Enon. Both works spotlight multiple generations of a New England family. Harding is a graduate of the University of Massachusetts, and was a drummer for the band Cold Water Flat before earning his MFA from the Iowa Writer’s Workshop and receiving a Guggenheim Fellowship. Harding cites his musical background as an inspiration for his writing, lauded for its distinct sense of rhythm.
The Jack Tworkov: Constellation of a Picture exhibition preview and reception is made possible by the generous support of sponsors ACME Fine Art, and associate galleries Carroll and Sons and Miller Yezerski Gallery. The exhibition was also made possible by the generosity and support of Hermine Ford and Helen Tworkov with special thanks to Jason Andrew. Catering provided by MAX Ultimate Food of Boston and Provincetown. Additional support continues to grow from numerous individuals and community-based businesses.
The Fine Arts Work Center was founded in 1968 with the mission of providing time and space to emerging visual artists and writers through residency programs in Provincetown, MA. Today, its Fellowship Program is one of the most renowned of its kind. Complementing its core mission, the Work Center also offers an open-enrollment summer workshop program in visual arts and creative writing featuring award-winning faculty. Additional programs include a low-residency MFA degree in visual arts in collaboration withMassArt, an online creative writing program called 24PearlStreet, and an extensive series of cultural events offered to the public throughout the year. The Work Center is located on an historic site in Provincetown, MA, the oldest arts colony in the country, minutes away from the pristine natural beauty of the Cape Cod National Seashore.
Ticket information is available through the Fine Arts Work Center website at www.fawc.org/tickets, or by phone at 508-487-9960 x 101. The May 1 preview show of Jack Tworkov: Constellation of a Picture is at ACME Fine Art, 450 Harrison Avenue in the heart of Boston’s SoWa District. The exhibit preview and reception is from 6:00 pm to 8:00 pm. In addition to the general ticket admission of $75, premium tickets are also available, including $250 Friend, $500 Patron and $1,000 Benefactor. These elevated ticket categories offer additional tickets and those purchasing Benefactor tickets are invited to a post-reception After Dinner with Special Guest Paul Harding. All ticket proceeds and a percentage of art gallery sales throughout the exhibit are earmarked to support the Work Center’s Fellowship Program.
The Fine Arts Work Center is located at 24 Pearl Street in the heart of Provincetown, Massachusetts.
2014 Event Information At A Glance
Fine Arts Work Center in Provincetown – Special Season Fundraising Events
Friday, May 1 6:00 – 8:00 pm – Reception and Preview
JACK TWORKOV: CONSTELLATION OF A PICTURE Boston Exhibition Featuring Rarely Shown Works
Special Guest Pulitzer Prize-winning Author Paul ACME Fine Art
450 Harrison Avenue, in the heart of Boston’s SoWa District
ACME Fine Art revisits the James Gallery, an early cooperative operating in New York from 1954 to 1962, beginning at abstract expressionism’s height, with a lively show co-curated by gallery director David Cowan and one of the James’s original artists, Myrna Harrison. The James was one of a community of cooperatives around East 10th Street that sprung up in reaction to exclusionary commercial galleries.
William Freed’s “Untitled Abstraction.”
Not all of the work withstands the test of time, but the exuberant energy of the exhibition overrides the occasional misfire. There are a few jewels, including William Freed’s “Untitled Abstraction.” The paint is so built up it’s stony, but the colors — tangerine, grapefruit pink — glimmer and melt, despite the bold forms of a pale square tilting against a dark shape edged in arcs. James Billmyer’s untitled painting is made entirely of scores of straight lines criss-crossing the canvas, creating depth and a dense, striated surface.
The second show at ACME highlights another abstract artist of that era, Panos Ghikas, who worked primarily in egg tempera, a medium only a perfectionist can love. Early works made while he was in art school at Yale in the 1940s are figurative and deeply invested in volume, such as the romantic pair in “Give Your Heart to the Hawks.”
But Ghika was a cunning modernist, and his 1957 painting “McDowell Colony 2” is a terrific piece. Its flat, interlocking puzzle-pieces of color, with their angles and tones, effectively evoke planes and space. At the same time, they hint at figures in a footrace. Both paintings are intricate, with delicate, dusky hues, but the abstract “McDowell Colony 2” conveys so much more than the allegorical “Hawks.”
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 www.fawc.org.
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 www.acmefineart.com. 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 www.FAWC.org/tickets.
An exhibition of modern paintings and drawings by the artists of mid-century Manhattan’s James Gallery opens today at ACME Fine Art in Boston’s SoWa arts district. A reception will follow on Friday 4 April from 5:00 to 9:00 p.m. A Gallery Talk by exhibition curators David Cowan and Myrna Harrison, who was one of the James Gallery artists, will be held on Saturday, 5 April at 2:00 p.m. The exhibition will be on view through Saturday 26 April 2014.
For more information about the artists or the artwork in the exhibition please contact ACME Fine Art at 617.585.9551 email@example.com. The entire exhibition is viewable on-line at www.acmefineart.com.
PANOS GHIKAS: EQUILIBRIUM at ACME FINE ART 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 firstname.lastname@example.org. The entire exhibition will be viewable on line at www.acmefineart.com.
Art Students League
Academie Grand Chaumiere, Paris
Society of Independent Artists
National Association of Women Painters and Sculptors
Federation of Modern Painters and Sculptors (founding)
AWARDS AND FELLOWSHIPS
Edith Penman Memorial Prize, 50th Annual Exhibition of the National
Association of Women Painters and Sculptors
Salons of America, 1931, 1932, 1933
Society of Independent Artists, 1932, 1933, 1935, 1936, 1937
Pennsylvania Academy of Fine Arts, 1934, 1935
National Association of Women Painters and Sculptors, 1935, 1938, 1939
New York Society of Women Artists, 1936, 1938, 1940, 1941
World’s Fair, New York, 1939
Federation of Modern Painters and Sculptors, 1941, 1943, 1944, 1947, 1949, 1955, 1963, 1976
The Brooklyn Museum, 1975
New York University, 1980
Farnsworth Museum, 1992 (solo)
Metropolitan Museum of Art
Ogunquit Museum of American Art
Museum of the College of the Atlantic
Art Gallery of Hamilton, Ontario
Wichita State University
Colby College Museum
Bryn Mawr College
Monhegan Island Museum
Central Wyoming Museum of Art
University of Lethbridge, Alberta
University of Southern Illinois
Born: March 23, 1913 in Balkbrug, Holland
To USA 1941
USA Citizen 1954
Died: December 26, 1963 in Provincetown, MA
Military Service in World War II
1941: Dutch Navy; 1942-1946: Lieutenant Commander in charge of the Dutch Port Authority in San Francisco
Selected solo exhibitions
1952: Saidenberg Gallery, New York;
1954, 55: Bertha Schaefer Gallery, NYC;
1956, 59, 60, 61, 64 (memorial): HCE Gallery, Provincetown, MA;
1957, 58, 59, 61: Parma Gallery, NY;
1960: October, Stamford Museum & Nature Center, Stamford, Connecticut;
1971: Jack Gregory Gallery, Provincetown, Massachusetts;
1982: Retrospective Exhibition, Provincetown Art Association and Museum, Provincetown, Massachusetts;
1987–2003: Julie Heller Gallery, Provincetown, MA.
2004: Nanno de Groot: The New York Years, ACME Fine Art, Boston MA
2007: Nanno de Groot: Earth Sea and Sky at ACME Fine Art, Boston, MA
Selected group exhibitions
1953 Saidenberg Gallery, NYC;
1953 Hansa Gallery, NYC;
1954, 55: Tanager Gallery, NYC;
1954, 55, 56, 57: New York Painting and Sculpture Annuals at the Stable Gallery, NYC;
1962, 63: HCE Provincetown, Massachusetts;
1953–1964: Provincetown Art Association and Museum, Provincetown, MA
1982: Everson Museum Provincetown Painters, principal collections;
1994: Re¬claim¬ing Artists of the New York School. Toward a More Inclusive View of the 1950s, Baruch College, City University, NY; New York-Provincetown: A 50’s Connection, Provincetown Art Association and Museum, Provincetown, Massachusetts; Anita Shapolsky Gallery, NYC;
1987–2003: Julie Heller Gallery, Provincetown, Massachusetts
2003: The New York School, ACME Fine Art, Boston, MA, Provincetown Painters, ACME Fine Art, Boston, MA; Summer Salon, ACME Fine Art, Boston MA;
2004: Beyond Likeness, ACME Fine Art, Boston, MA; Summer Salon, ACME Fine Art, Boston, MA; Reuniting an Era: Abstract Expressionists of the 1950s, Rockford Art Museum, Rockford, IL.
Works in Museums and Public Collections
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Museum of Fine Arts, Boston, Massachusetts
Chrysler Museum of Art, Provincetown, Massachusetts
Hebrew University, Jerusalem, Israel
Provincetown Art Association and Museum, Provincetown, Massachusetts
Olson Institute, Guilford, Connecticut
Kresge Art Museum, Michigan State University, East Lansing, Michigan
As a child I didn’t want to be anything. I later learned that small boys want to become engine drivers, soldiers, firemen, cowboys; but such aspirations were alien to me. I did not, however, actively want to be nothing when I grew up. The whole thing merely never occurred to me at all. People were, a house was, the canal was, the bridge was, the sky was and I was. Not becoming, not having been—anything, or something else.
In moments of clarity of thought I can sustain the idea that everything on earth is nature, including that which springs forth from a man’s mind, and hand. A Franz Kline is nature as much as a zinnia. Once that idea is thought it becomes clouded by the idea that this would include a paper-flower or a plaster Jesus.
I have now painted nearly 30 vases full of flowers and am still discovering many things. It is strange how completely abstract a completely true to nature painting becomes. It is probably that one is so little used to looking closely enough at the color of things that is has escaped one that a red flower, for instance, has about a dozen colors haphazardly put together—one next to the other. Every red flower (of the same red) has different reds in it and they are distributed differently and very crudely. Painted that way, reality is approached much more closely that trying to imitate the subtleties a flower contains. Those subtleties are there in the end, wonder of wonders, in the painting, and even the delicacies of texture.
Nanno De Groot was one of the formative but rarely seen artists of the great era of Abstract Expressionism in Provincetown. De Groot was one of many avant-garde artists who congregated seasonally in the lower cape art colony. They were largely drawn by cheap rent, great scenery and the school of Hans Hofmann. There was also subsidy through the GI Bill in the post war era of the late 1940’s and early 1950’s. A focal point of this activity was Forum 49, a series of lectures and exhibitions during the summer of 1949 organized by Weldon Kees and others that debated the new art. Fellow artists were Peter Busa, Fritz Bultman, Jack Tworkov and artists of the older generation like Karl Knaths, Blanche Lazzell and Edwin Dickinson.
While some aspects of De Groot’s work are generic to the ideas of the time, he was a uniquely strong and gifted painter. There is wonderful facility and angst in his mark-making. In his early work the nervous black lines suggest forms or figures that make one think of European Post War artists like Dubuffet and Giacometti. The works are gestural and confined in palette and all are compelling enough to command respect and further study.
Some catalogue notes establish that he was born in 1913 in Holland, served in its Navy during the war and applied for US citizenship while stationed in San Francisco in 1946. He started to make art in 1948 and hit his stride in 1950-52 when he lived in New York City. He showed in 1953 with the seminal Hansa Gallery and in 1954 with Tanager and Bertha Schaefer. In 1956 he rented Fritz Bultman’s studio in Provincetown where he moved in 1962. While in the process of building a house on Commercial Street overlooking the water he died at the age of 50 in 1963.
Yale University, BA, 1950
Accademia di Belle Arti, Florence, Italy, 1950-51
Instituto Statale d’Arte, Florence, Italy, 1950-51
Hans Hofmann School, New York, 1952-53
Issac Delgardo Museum of Art, New Orleans, LA
Union Carbide Corporation, New York, NY
Argus Chemical Corporation, New York, NY
AT&T Corporation, Boston, MA
University of Massachusetts, Amherst, MA
Farleigh-Dickinson University, NJ
Purdue University, W. Lafayette, IN
Walter Chrysler Museum, Norfolk, VA
Provincetown Art Association and Museum, Provincetown, MA
Citation for service to the arts, Public Action on the Arts, Boston, MA
Sponsor’s Prize, 23rd Annual, Hunterdon Art Center, Clinton, NJ
Best of Show Award, Sugar Creek Biannual, Crawfordsville, IN
$1,000 Prize, N.E. Painting & Sculpture, Provincetown and Boston, MA
XL Grant, Purdue University
National Council on Art and Humanities Grant
Walter Gutman Foundation Grant
Professor of Art and Art History at Purdue University in Indiana and a highly respected and well-loved artist with deep roots in Provincetown, Tony Vevers’ contributions to the art world and to the arts in his adopted home are legendary. His figurative and landscape paintings from the 1950s and ’60s have a simplicity and purity that marry narrative and formal eloquence. In the 1970s he began working with rope and sand, creating poetic canvases of mysterious beauty.
Born in London in 1926, Tony and his sister were evacuated to the U.S. in 1940 to escape the Blitz during World War II. By 1944 Vevers was serving in the U.S. Army, in Germany, and had achieved the rank of Staff Sergeant when he was honorably discharged. After leaving the army in 1946, Tony entered Yale University on the G.I. Bill where he studied art, graduating in 1950.
In the early 1950s Tony traveled to Italy to study art, and later lived in New York where he met many of the first generation Abstract Expressionist painters. In 1953 he met and married the artist, Elspeth Halvorsen. By 1954 Tony and Elspeth had established themselves in Provincetown and their two daughters were born over the next three years.
Although Vevers taught at Purdue University from 1964 to 1988, it was the summers in Provincetown that fed his creative spirit.
His astute insights into Modernism as it spread from New York and into Provincetown were fueled by his connection with virtually every artist who had been part of that era including Edwin Dickinson, Mark Rothko, Franz Kline, Jack Tworkov and Robert Motherwell. As Museum Director Chris McCarthy stated, “It is hard to imagine anyone who has had a more consistent hand in the life of the Provincetown Art Association and Museum over the past four decades. Tony’s insights and contributions to writing the history of art in Provincetown are unparalleled.”
Tony Vevers exhibited his work in over one hundred solo and group shows in New York, Boston, Provincetown and throughout the U.S. In 1977 he became one of the founding members and president of Provincetown’s legendary Long Point Gallery. His work is in the permanent collections of the Hirshhorn Museum in Washington, the Walter Chrysler Museum, the DeCordova Museum, the University of Massachusetts and many others.
He received awards from the National Council on the Arts and the Walter Gutman Foundation. He served as an advisor to the Fine Arts Work Center and as a trustee and curator of the Provincetown Art Association and Museum.