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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 acmefineart.com. 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 acmefineart.com. 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 acmefineart.com. 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: acmefineart.com (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 (glongo@fawc.org) or ACME Fine Art (www.acmefineart.com).
For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at info@acmefineart.com

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.

PRINT PORTFOLIO: A Virtual Exhibition

Moy Abstract Visit High ResACME Fine Art’s upcoming virtual exhibition Print Portfolio will feature a selection of etchings, lithographs, woodblock prints and silkscreens by artists Seong Moy, Charles Littler, Grace Martin Taylor, Edwin Dickinson, George McNeil, Lillian Burk Meeser and Agnes Weinrich. Although these artists are from different generations and work in different styles, they all have a Provincetown, Massachusetts connection in common. This will be ACME Fine Art’s first exclusively online exhibition. The exhibition will open on 1 April 2010 and will be accessible at www.acmefineart.com.

Edwin Dickinson was one of the first artists to rent at studio at Days Lumberyard, which would later become Provincetown’s most vital studio complex. Dickinson made etchings for a short period of time, primarily during the year 1916, which “may have been motivated by the idea that prints were easier to sell than paintings.*” Although Dickinson did find etching to be profitable, by 1924 his preference for painting had prevailed. As a result of his short time as a printmaker and his small editions, Dickinson’s etchings are thus very rare. His etchings from this period and on view in Print Portfolio are primarily Provincetown scenes, including Cape Cod Birds and Montello Street, both from 1916. Dickinson used fine, delicate lines to produce detailed, yet powerful compositions. A number of Dickinson’s etchings were included in Edwin Dickinson in Provincetown, 1912-1937, an exhibition at the Provincetown Art Association and Museum in 2007.

Grace Martin Taylor is best known for her white-line woodblock prints, otherwise known as Provincetown prints, which are made using the first printmaking technique unique to the United States. The white-line woodblock technique is derivative of Japanese woodblock printmaking, a link that Taylor must have considered when composing her colorful Japanese influenced images. To produce white-line woodblock prints, colored inks were individually painted onto a section of a single carved woodblock and printed, a painstaking process that required much planning and drying time. White-line woodblock prints by Lillian Burk Meeser and Agnes Weinrich will also be featured in the exhibition.

Seong Moy, Charles Littler and George McNeil were all associated with Hans Hofmann early in their careers. Seong Moy, who emigrated from China at the age of ten, learned printmaking as part of a WPA project at the Walker Art Center in Minneapolis. His dynamic abstract woodcut prints are an amalgamation of his Chinese artistic heritage and the teachings of Hofmann. Moy taught painting and printmaking at many institutions, most notably the Art Students League and Pratt Graphic Center, in addition to forming his own school in Provincetown. Charles Littler incorporated the wood grain texture into his graphic woodblock prints. Using a limited palette of black and white, greens and browns, Littler composed abstracts of thick, sinuous lines evocative of the human form.

George McNeil’s use of brilliant colors and varying textures in his silkscreens and lithographs parallels his painting style. McNeil produced only a few color silkscreens in small editions during his abstract expressionist period. In 1971 McNeil began a residency at the Tamarind Institute at the University of New Mexico, where he learned the technical skills of lithography. McNeil’s lithographs from the 1970s and 80s utilize these complex skills, while maintaining the spontaneity of his paintings. McNeil’s prints are included in the permanent collection of the Smithsonian Institute Print Collection.

Please contact the gallery at 617.585.9551 or info@acmefineart.com for more information about these artists or the exhibition. These works are available for viewing at the gallery by appointment.
*Ward, John L. Edwin Dickinson: A Critical History of His Paintings. Rosemount Publishing and Printing Corp., 2003.


ACME Lloyd Still Life with Pink Coffee PotFor ACME Fine Art’s second solo exhibition of artwork by George Lloyd, gallery director David Cowan has assembled a fine group of rare works from what the artist refers to as his Figurative Period. The exhibition will open with a reception from 6:00 to 8:00 p.m. on Friday 15 January 2010, and it will be on view through Saturday 6 March 2010.

George Lloyd received his BFA from the Rhode Island School of Design in 1967, and went on to earn his MFA in 1969 from the Yale University School of Art, where he studied with Lester Johnson and Jack Tworkov. Following the completion of his graduate studies, Lloyd accepted a teaching position at the University of California, Berkeley. The artwork that was created during this fertile period while living and working in the San Francisco Bay Area –the early 1970s- is what constitutes the Figurative Period of Lloyd’s work. It was also during that time that he participated in a weekly drawing group with renowned Bay Area artists, Elmer Bischoff, Joan Brown, and Gordon Cook. Together the four artists participated in a group exhibition of the work created in the drawing group sessions that was titled New Drawings. The exhibition was first mounted at the Charles Campbell Gallery (San Francisco), and later at the Crocker Art Museum (Sacramento) in 1973.

The importance of the drawing group and of “drawing” itself in Lloyd’s early work cannot be overstated. In an interview in 2000, he was quoted saying that “In retrospect, it is clear that drawing was the dominant concern in my paintings during this early Berkeley period.” When viewing the paintings; however, one is more struck by the effusive spirit that the work conveys. While we may see peripheral flashes of Henri Matisse, Stuart Davis, Robert de Niro Sr. and/ or Hans Hofmann, what we are left with in the end is an original, individual, eloquent voice. These paintings are brilliantly chromatic. They are also concisely edited, elegantly composed, and freshly and sensually expressed in a modern idiom that speaks an abstract visual language that is nonetheless readily understood.

Lloyd moved back to the east coast in 1982, settling more or less permanently in Portland Maine in 1985. He continues to teach and to paint, and his contemporary work is exhibited regularly in museum and gallery exhibitions throughout the U.S. Lloyd’s contemporary work appears to be a natural outgrowth of the interests demonstrated in the work created during his formative years in California. In addition to teaching at U.C. Berkeley, Lloyd has held teaching positions at Cornell University, the University of Southern Maine and at Wesleyan University. He was awarded Pollock Krasner Foundation grants in both 1994 and 2006. Lloyd’s work is in the permanent collections of the Oakland Museum of Art, the Portland Museum of Art, the University of Maine Museum of Art, the Ogunquit Museum of American Art, and the University Art Museum of the University of California, Santa Barbara. In addition to those institutions already listed George Lloyd’s work has been exhibited at the National Academy of Design, the Johnson Museum, Cornell University, the Center for Maine Contemporary Art, and the Center for the Visual Arts (Oakland CA).

ACME Fine Art’s exhibition of paintings and drawings from George Lloyd’s figurative period will be on view from 15 January to 6 March 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. Please contact the gallery at 617.585.9551 or info@acmefineart.com for more information about the artist or the exhibition. The entire exhibition will be viewable on-line at www.acmefineart.com.

DIRECTOR’S CHOICE: David Cowan’s Favorites

ACME Dickinson Chateau15 January – 23 April, 2010

An exhibition titled DIRECTOR’S CHOICE will open with a reception from 6:00 to 8:00 p.m. on Friday 15 January 2010 at ACME Fine Art’s 38 Newbury Street gallery. The exhibition will feature a selection of recently acquired paintings, drawings, and sculpture by noted 20th century modern American artists.

The stylistically diverse group of works that comprise the exhibition was assembled by Gallery Director David Cowan from a variety of private collections and estates, with the intent to display the breadth and quality of artwork in the current gallery collection. The exhibition will embrace Surrealism, Early Modernism, Abstract Expressionism, and Figural Abstraction.

In addition, a fine group of Indian Space Paintings by Will Barnet, Steve Wheeler and Peter Busa will be included. Other artists whose work is represented include expressionist painters Jack Tworkov, Stephen Pace, Dorothy Eisner, William Kienbusch, George McNeil and Robert Beauchamp. Rare Surrealist canvases by Federico Castellon and Harold Sterner will also help form the exhibition.

A landscape gem previously exhibited at the Whitney Museum of American Art and the Hirschhorn Museum that was created by early modern painter Edwin Dickinson in 1938 will round out the diverse group of artworks.

DIRECTOR’S CHOICE will be on view at ACME Fine Art through 23 April 2010.

For further information about this exhibition or other gallery events, please contact the gallery at 617.585.9551, or via e-mail at info@acmefineart.com.

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.