The Watercolors of TONY VEVERS

Picture 01220 March – 8 May, 2009

On Friday, 20 March 2009 THE WATERCOLORS OF TONY VEVERS, an exhibition of landscape-inspired abstractions by Tony Vevers from the 1950s, will open at ACME Fine Art, Boston. A reception from six to eight on Friday evening (the 20th) will mark the opening. The exhibition will be on view through 8 May.

Upon emigrating from England to the United States in 1940 at the age of fourteen, Tony Vevers was impressed by the sprawling lushness of the American landscape. This connection to and appreciation of the American landscape quickly formed a theme in Vevers’ artistic pursuits, a theme that continued throughout his lengthy career as an artist and educator. Vevers was surrounded by art as a boy, and he was eager to undertake the serious study of painting and drawing as soon as he could. He welcomed the opportunity to do so at the Hotchkiss School in Lakeville CT, where he particularly enjoyed painting the landscape en-plein-air. In 1946 Vevers went on to study at Yale University where he earned his BA degree in Drawing and Painting in1950.

Following graduation from Yale Vevers spent time traveling in Italy. While there his focus was on abstracting the landscape in oil paintings and in watercolors. Of this period Vevers said, “When I first got there I tried to do a more abstract figuration. By the end of my stay, I was taken with the idea of working abstractly through nature, something I’ve always done.”

Upon his return to the US, Vevers attended the Hans Hofmann School in New York. While many of his colleagues’ work adopted a more distinctly non-objective, abstract expressionist style, Vevers work consistently maintained a connection to nature. In fact, by 1955 Vevers was beginning to incorporate the human figure into his work. This was at a time when such a thing was almost taboo among the art world’s avant-garde elite.

The watercolors that will be featured in ACME Fine Art’s upcoming exhibition include two early Italian landscapes, and a group of four exceptional shoreline-inspired abstractions painted in Provincetown from 1958. This was a period that was particularly rich both with respect to the history of the arts in Provincetown but also in Vevers’ own development as an artist. At that time he was exhibiting his work at a relatively small gallery known as the Sun Gallery on Commercial Street in Provincetown. His colleagues in the gallery were such artists as: Jan Muller, Bob Thompson, Lester Johnson and Red Grooms, and all were breaking new ground by bringing the “subject” back to modern art.

Vevers exhibited at many notable institutions throughout her career, including Indianapolis Art League, IA; Boston University Art Gallery; Cape Museum of Fine Arts; Copenhagen City Gallery, Denmark; Georgia Museum of Art, Athens, GA; Guildhall Museum, East Hampton, NY; and the Indiana State Museum, Indianapolis, IA. Vevers’ work is represented in the permanent collections of the Isaac Delgardo Museum of Art, New Orleans, LA; the University of Massachusetts, Amherst, MA; Farleigh-Dickinson University, NJ; Purdue University, West Lafayette, IN; Walter Chrysler Museum, Norfolk, VA; Hirshhorn Museum, Washington, DC; Provincetown Art Association and Museum, Provincetown, MA.

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



ACME Pace 55-06 High Res20 March – 8 May, 2009

STEPHEN PACE: EARLY WORK, ACME Fine Art’s second solo exhibition of Stephen Pace’s abstract expressionist works, will open on 20 March 2009. This exhibition will focus on watercolors and oil paintings that were created between 1950 to 1955. This was an important developmental period for Pace, one that traces his growth from student at the Hans Hofmann School to accomplished member of the New York School. A reception from six to eight on Friday evening (the 20th) will mark the opening. The exhibition will run through 8 May. Exhibition catalogues are available by contacting the gallery.

Although today he is widely recognized for his contemporary figurative paintings and watercolors, Stephen Pace made his name in the art world in the 1950s and early 1960s for his non-objective Abstract Expressionist canvases. During this period Pace found representation at the Howard Wise Gallery in New York, and Wise mounted five solo exhibitions of Pace’s work over the course of two decades. His work was also included in group exhibitions at the Pennsylvania Academy of Fine Arts, the Museum of Modern Art, the Cleveland Museum of Art, the Walker Art Center (Minneapolis), the Art Institute of Chicago, the Corcoran Gallery of Art, and the Whitney Museum of American Art (four times) during this period.

Following military service in World War II, Pace came to New York and studied with the man who is widely recognized as one of the 20th century’s most important and influential art educators, Hans Hofmann. As a post-war student of Hofmann, Pace is today labeled a second generation Abstract Expressionist; however, throughout the 1950s during the heyday of the Abstract Expressionist movement, Pace’s contemporary work was exhibited along side the most respected of the first generation artists. Hans Hofmann had high regard for Pace, and in a LOOK magazine story from 1959 he described Pace as an “original talent.” In connection with an exhibition of paintings by Pace at the Walker Art Center in 1961 Hofmann said that Pace was a “great contemporary talent… with great plastic imagination and immense vitality and inventiveness in the realm of color.”The focus of ACME Fine Art’s upcoming exhibition of Stephen Pace’s non-representational work will be the paintings produced between 1950 and 1955. The idea is to trace Pace’s exploration and development from the point of interface with maestro Hofmann through this highly productive five-year period, which culminated in the establishment of his mature, unique, expressionist voice. As it still can be seen today in his contemporary canvases, this work is at once lyrical, and poetic; however, these early paintings demonstrate a fearless vigor and bold masculinity that is uniquely both compelling and provocative.

Exhibition catalogues are available upon request.

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


Untitled Big Branches9 January – 14 March, 2009

On 9 January 2009 ROBERT KIPNISS: PAINTINGS, an exhibition of recent paintings by artist Robert Kipniss, will open at ACME Fine Art, Boston. A reception from six to eight on Friday evening (the 9th) will mark the opening. Robert Kipniss will give a gallery talk on 5 Decades of Painting on Saturday, 10 January at 3 PM. The exhibition will run through 14 March.

There is a quiet beauty about Robert Kipniss’ paintings that makes his work accessible to many viewers; however, to see his work as merely beautifully rendered landscape and still life paintings is to overlook much of their content. A reviewer for Time magazine once eloquently described paintings by Robert Kipniss as existing in the “twilight zone between recollection and imagination….” The writer then went on to add that the work offers “the appearance of reality and the ambiance of dreams.” Certainly there is a dreamlike quality about Kipniss’ mature work that attracts the viewer’s eye through the immediate recognition of something vaguely familiar… almost like déjà vu. The elements of recognition, familiarity, and time – along with the artist’s thoughtful elimination of superfluous detail – give the work a timeless quality that is at once compelling and often haunting.

In fact, Kipniss does paint from memory and from his imagination. Many of his landscape paintings call upon visual recollections from his college years in Springfield, Ohio, from long walks in Central Park in the 1950s & ‘60s, and from more recent observations in the countryside of northwestern Connecticut where he currently spends time on weekends. All of his contemporary work is created north of New York City in a studio high above the Hudson River in which the windows have been blacked out as if to eliminate the distractions of the mundane world beyond his canvas. Artistic license notwithstanding, it seems clear that the nature of Kipniss’ recollection is more poetic than documentary, and that his carefully and elegantly composed tonal canvases rely more on his personal artistry than on precise memory.

The imagery in Kipniss’ paintings – the small town Main Street, the naked branches of a copse of trees in winter, or the tea kettle and cup, for example – carries with it associations that are distinctly different to each viewer: yet, these associations are meaningful to all of us on both on a conscious, and – most importantly – on a subconscious level. It is this connection between artist and viewer that makes Kipniss’ work at once so thematically universal and so psychologically charged. It is because the paintings are so rich with meaningful associations that connect to each our own personal histories, that they live a life beyond the quiet beauty that is immediately evident.

Although several early works will be included for the sake of providing context, ACME Fine Art’s first solo exhibition of paintings by Robert Kipniss will be principally comprised of work created since 2003. A number of paintings forming ACME Fine Art’s exhibition were a part of the artist’s 2005 retrospective exhibition at the New Orleans Museum of Art and are illustrated in the monograph that accompanied that exhibition. This occasion marks the first time that most have been exhibited since then, and the first time that they have been offered for sale. We are delighted and honored to represent Robert Kipniss, and we are deeply grateful to him for making this exhibition possible.

ACME Fine Art’s exhibition ROBERT KIPNISS: PAINTINGS will be featured here at

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

Charles Littler

Charles Littler

University of Denver, 1948-49
University of Mexico, BA, 1949-50
Hans Hofmann School, NYC, 1951-52
Alfred University, MFA, 1954-56

Solo Exhibitions
James Gallery NYC, 1952-54
Glidden Gallery, NYC, 1956
The University of Arizona, Art Gallery, Tucson, 1980-91
Rosequist Gallery, Tucson, 1960
Temple of Music and Art, Tucson, 1960
Gallery of Realities, Taos, New Mexico, 1961
Tucson Art Center, 1961
Ohio University Gallery, Athens, Ohio, 1963
Woodward Gallery, Scottsdale, Arizona, 1974
Portraits, Rancho Linda Vista Gallery, Oracle, Arizona, 1977
Self Portraits, Pima Community College, Tucson, 1978
Rancho Linda Vista Barn Gallery, 1997
Looks Like Charles, M. Revak & Co., Tucson, AZ, 1999-2000

Selected Group Exhibitions
New York Center Gallery, 1953
149th Annual Exhibition, Pennsylvania Academy of Fine Arts, 1954
Invitational Show, The University of Arizona, Tucson, 1956
Prints and Drawings, Dallas Museum of Fine Arts, Dallas, Texas, 1957
Annual Arizona Invitational, The University of Arizona, 1958-59
Arizona Artists Guild, Phoenix, 1959
9th Annual Tucson Festival Art Show, Southwestern States Award, 1959
Southwestern Art Invitational, Dallas Museum of Art, Texas, 1960
Second Arizona Annual, Phoenix Art Museum (grand purchase), 1960
Third Arizona Annual, Phoenix Art Museum, 1961
11th Annual Tucson Festival Show, Tucson Art Center (award), 1961
First Annual Southwestern States Exhibition, Roswell Museum, New Mexico
(purchase award), 1962
Albuquerque Exhibition of Small Paintings, University of New Mexico (prize), 1962
Southwest Painting and Sculpture, The Museum of Fine Arts, Houston, 1962
Sherman-Sierk Gallery, 5 Artists, Tucson, Arizona, 1962
Sixty-Ninth Western Annual, Denver Museum of Art, 1963
19th Artists West of the Mississippi: The Realistic Image, Colorado Springs Fine Art
Center, 1963
Distinguished Alumni Exhibition, University of New Mexico Fine Arts Gallery, 1964
24th Annual Tucson Festival Exhibition, Tucson Art Center, 1974
RLV Art Show, Graphics Gallery, Tucson, 1974
Southwestern Invitational, Yuma Art Center, Arizona, 1975-8
Four Corners States Biennial, Phoenix Art Museum, 1981
Los Angeles Modernism Show and Sale, Off the Wall Productions, 2007
RLV 40th Anniversary Exhibition, 2008
RUBY LEE, collaboration with Pat Dolan, 1980-91:
Pictures, a site performance in the Catalina Mountains, Arizona, 1980
TRAIL MIX, permanent ongoing site sculpture, Rancho Linda Vista, Oracle, AZ, 1981
Park Art, temporary site specific sculptures in National Parks, 1981
Wedding Pictures, multi-media performance, Rancho Linda Vista, Oracle, AZ, 1982
Site Performances, performances at TRAIL MIX, 1982
Sound Pieces, installations at The University of Arizona Museum of Art, Tucson, 1983
Tokonama, installations at Rancho Linda Vista Gallery, Oracle, Arizona, 1982
String Trio, outdoor installation, Tucson Art Institute, 1985
Tucson Art Institute, mixed media installations, 1986
Family Portrait, outdoor installation, Tucson Botanical Garden, 1986
Plaza Plastique, outdoor installation, Tucson Pima Art Council, 1986
Memories, installation, Scottsdale Center for the Arts, 1986
Stump & Jump, outdoor installation, Tempe Center for the Arts, Tempe Arizona, 1987
20th Anniversary Show of RLV, Dinnerware Gallery, Tucson, 1989
Southwest ’90, Santa Fe Museum of Art, 1990
Pima County River Project Public Art Commission, 1990
Ten Year Anniversary Celebration, TRAIL MIX, RLV, Oracle, AZ, 1991

Public Collections
Phoenix Art Museum
University of New Mexico
Dallas Museum of Art
The University of Arizona Museum of Art
Roswell Museum of Art
Yuma Museum of Art
Tucson Art Center
Worcester Art Museum

Prize Winning Oil Paintings and Why They Won the Prize, 1961
The Painter and the Photograph by Van Deren Coke, 1961
Who’s Who in American Art, Allied Publications
Drawing and Form by W. Enstice & M. Peters
Arizona Daily Wildcat, 9/23/1976
Arizona Illustrated, KUAT-TV, 6/1986, 5/1989, 12/1992
Arizona Daily Star, July 14 & August 20, 1990, 11/19-11/26, 1999
Tucson Citizen, 12/1981
Artspace, Fall 1981

Work Experience
Secretary to Hans Hofmann, 1952-54
Silk screener, sign designer, 1958-59
Stage Designer, 1958, 1984
Professor of Art, University of Arizona, 1958-1984
Designer & Builder of Foam Shell Structures, 1971
Visiting Artist: New York State University, Brown University, University of Arkansas,
Cochise College

James Gallery, NYC (10th Street co-op gallery), 1952
Rancho Linda Vista (community dedicated to the arts), 1968
RUBYLEE (art collaborative with Pat Dolan, 1980

Charles Littler studied at the University of Denver (1948-49), University of New
Mexico (1949-50), Hans Hofmann School (1951-52), and Alfred University (1954-56).
He also served as secretary and assistant to Hans Hoffman from 1952-54. Littler
taught at the University of Arizona for over 25 years, while amassing an impressive
and varied body of work.

More concerned with the artwork itself than commercialism or celebrity, Littler
was not a traditional painter or sculptor, but worked in a wide range of media and

In 1957, Littler abandoned the New York art world where he had founded the James Gallery (1952), a 10th Street co-op gallery, and had been invited by Ileana Sonnabend
to show his work and moved to Tucson, AZ. Littler had long been interested in the
arts community lifestyle and after a weekend spent in a residential artists environment
he purchased a dude ranch in Oracle, Arizona to form Rancho Linda Vista in 1968,
which he considered to be his greatest artwork. Over time, the ranch established
a group consciousness which Littler felt compelled to nurture.

My view of Rancho Linda Vista is that it’s a work-of-art, initiated by me and executed
collaboratively by many members-past, present and future (including all of those
who don’t even think of themselves as artists).

Littler also collaborated with wife Pat Dolan, working on a series entitled RUBYLEE
(1980-91), which included performance, site-specific sculptures, installation, and video. Littler was concerned with blurring the line between art and life and living
his art. Art collaboration became the context for our life together, said Littler
of his marriage with Dolan.

Since Littler’s death in 1991, his legacy of Rancho Linda Vista lives on, and is
now populated by a younger generation of artists who continue to evolve Littler’s
original vision.


Picture 04021 November – 23 December, 2008

On 21 November 2008 WORKS ON PAPER, an exhibition of fine original watercolors and drawings from 1940 to the present, will open at ACME Fine Art, Boston. The artwork of more than twenty-five artists has been selected by gallery director David Cowan for this first-of its kind, exhibition for the gallery. A reception from six to eight on Friday evening (the 21st) will mark the opening. The exhibition will run through Tuesday 23 December.

ACME Fine Art’s WORKS ON PAPER will feature artwork that was created as early as 1915 and as recently as last week. Early modern artists whose work will be included in the exhibition are Werner Drewes, Blance Lazzell, Kenneth Stubbs, Charmion Von Wiegand, and Hananiah Harari. A fine tonal watercolor titled Bowery Beauty by Reginald Marsh will figure prominently in the selections from the first half of the 20th century, and a very rare early monotype by Edwin Dickinson round off the selection of work created early in the century.

Fine original examples of mid-century artwork by Richard Filipowski, Hans Hofmann, Jack Tworkov, George McNeil, Maurice Freedman, and Stephen Pace will be featured. Two Provincetown watercolors that date from the 1950s by the noted figurative expressionist painter Lester Johnson will also be on display. An unusual early surrealist collage dating from the 1940s by avant-garde artist Andre Racz also promises to be one of the exhibition highlights. Noteworthy examples by contemporary artists Vincent Castagnacci, Hermine Ford, George Lloyd, and Robert Kipniss will figure prominently in the exhibition as well.

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 at 38 Newbury Street, Boston, Massachusetts, 02116. Gallery hours are 11:00 to 5:30 Tuesday through Saturday.


Picture 00417 October – 15 November 2008

ACME Fine Art’s second solo exhibition of the work of Michael Loew is comprised of a group of fine watercolors and drawings created while the artist was in residence on his beloved Monhegan Island in Maine. Loew began spending the summer months on Monhegan in 1949 and continued doing so for almost thirty years. During the early years he enjoyed sketching the island landscape in watercolors that were painted en plein air. ACME Fine Art’s exhibition will feature a fine group of such watercolors that were painted between 1949 and 1954 as well as a group of drawings from the same period.

While the influences of teachers such as Vaclav Vytlacil and Hans Hofmann can be appreciated in this early work, Michael Loew’s adaptation of modern ideas on formal structure and color yielded something completely fresh and original. The early watercolors bear witness to the artist’s fundamental interest in and adaptation of a reductive theory that always had its basis in nature. Throughout his career Loew’s point of departure was often the landscape and light of coastal Maine.

In her essay Nature Into Abstraction that was published in conjunction with Loew’s 1997 retrospective exhibition at the Farnsworth Art Museum in Rockland Maine, curator Susan Larsen aptly describes Loew’s early geometric work as a “fusion of landscape and radical abstraction.” These watercolors visually demonstrate the fusion described by Dr. Larsen, and they capture the precise conception of an evolutionary process for the artist that ultimately led to the creation of his highly synthesized, seminal neo-plastic “Open Space” paintings of the 1970s and early 1980s.

The exhibition Michael Loew, En Plein Air will be on view at ACME Fine Art from 17 October through 15 November 2008.

For further information about this artist or 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 at 38 Newbury Street, Boston, Massachusetts, 02116. Gallery hours are 11:00 to 5:30 Tuesday through Friday and 11:00 to 5:00 on Saturdays.


Picture 09417 October – 15 November 2008

An exhibition of rare and important oil paintings by George McNeil will open at ACME Fine Art’s 38 Newbury Street galleries on Friday 17 October 2008. The exhibition will be comprised of a group of 19 works from the estate of the artist that date from between 1951 and 1969. This was a period that encompassed the artist’s full-blown action paintings as well as the powerful transitional works that demonstrate McNeil’s growing interest in abstract figuration. The exhibition will be on view through the 15th of November. Exhibition catalogues are available through the gallery.

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

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

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

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

For ACME Fine Art’s third solo exhibition of the paintings of George McNeil the gallery has chosen to focus on the artist’s fully abstract paintings from the 1950s and 1960s. This was the period when McNeil’s work first began to receive the serious critical attention that it deserved. McNeil had excellent gallery representation during this period, and his work was exhibited regularly, first at Egan (until 1954), then at the Poindexter Gallery (through 1959), and later at the Howard Wise Gallery (1960-1967.) As previously noted McNeil’s work was frequently included in significant museum venues around the country in the 1950s and the 1960s. It should also be noted that his work was regularly reviewed by such publications as Time Magazine, the New York Times, and Art News, and by writers such as Thomas Hess, Barbara Rose, Clement Greenberg, William Seitz, and Irving Sandler.

The work from 1950s is characterized by McNeil’s signature use of multiple layers of thick impasto with complexly interlaced textural bands or areas of pigment. These canvasses are the boldly colorful, spontaneously conceived, emphatic, artistic statements by an artist who has found his natural expressionist’s voice. In short they constitute classic, New York School, Abstract Expressionism.

The decade of the 1960s was an important period of transition for McNeil. In the 1960s his forms while often equally textural rich and complex- in many cases carried figural or landscape associations. Frequently the titles of these paintings such as Nassau or Rhoda- echo such associations. (Some were in fact painted en-plein-air.) During this period McNeil began to experiment with abstracted vaguely figural shapes, and an enhanced sense of spatial depth. In a number of the canvasses that were painted near the beginning of the decade, he also often employed a lighter even feathery- almost frenetic gesture. By the end of this pivotal decade, the figure had become more fully sensate in McNeil’s work; nonetheless, the expression remained an abstract vehicle used by the artist as an additional tool in his visual language. These paintings display the artist’s struggle to convey more than he could otherwise do using what had become his traditional means. These are compelling transitional works that like the artist- are rich in complexity and are often enigmatic. These too are the works that led the emotionally charged Neo-Expressionist canvasses that became McNeil’s hallmark in the 1970s, ’80s & ’90s.

For further information about this artist or exhibition, or other gallery events please contact the gallery at 617.585.9551, or via e-mail at


Picture 0775 September – 11 October, 2008

ACME Fine Art’s opening exhibition of the Fall season will feature paintings and works on paper by the noted New York School artist Peter Busa. The exhibition will open to the public on 5 September 2008. A reception celebrating the artist’s second solo exhibition at the gallery is planned for the evening of Friday, 12 September from 6:00 to 8:00 p.m. At a special Gallery Talk on Saturday 13 September 2008, at 1:00 p.m., Christopher Busa –the artist’s son- will present a lecture called The Life, Times, & Artwork of Peter Busa. All events are open to the public at no charge.

Peter Busa (1914-1985) was a central figure in the development of the New York School as it emerged in the early 1940s. During that time Busa -along with Matta, Baziotes, Pollock, and Motherwell- pioneered the development of automatic painting and drawing techniques that became identified with Surrealism initially and Abstract Expressionism later on. It was also during this period that Peter Busa’s work was exhibited regularly at Peggy Guggenheim’s Art of This Century gallery in Manhattan, culminating with a solo exhibition there in 1946.

Busa’s early work is of two types. The first employed the automatic techniques that he and his Surrealist compatriots pioneered. Busa’s canvases of this type rely heavily on poured and/or dripped paint and date from the mid-1940’s typically. The second type of painting was commonly more geometric -often angular- and these paintings were heavily influenced by Native American art. It was Busa’s interest in Native American design motifs and the consequent balance of positive and negative aspects of space; however, that led to the development of the style of painting with which Busa’s name is most closely associated today: Indian Space Painting.

In fact, Peter Busa was one of a small group (which included Will Barnet and Steve Wheeler) of twentieth century American, avant-garde artists whose work was most profoundly influenced by Native American art and spirituality. Busa’s Indian Space Paintings bear witness to these influences with an aesthetic balance and primal strength all their own. It is important to note that even early on in his career Busa had an ability to synthesize and marry diverse ideas. This can be seen clearly in his efforts in the 1940s and 1950s to balance the positive and negative space in his automatically conceived paintings and drawings, while at the same time using –even celebrating- the spontaneously expressive event in his geometric paintings. This was in stark contrast to the approach taken by most of the artists working within the Indian Space idiom at that time.

During the 1950s and through the 1960s and 1970s Busa began to explore the expressive limits of abstraction on one front and those of geometric minimalism on the other, often working at the extreme ends of the spectrum, and at other times somewhere in between. By the 1980s Busa had once again begun to synthesize and marry the ideas that he continued to find compelling. His late work does achieve a successfully integrated amalgam of approaches to color, form, and expression in a visually convincing way that is completely original, and unique to Peter Busa.

ACME Fine Art’s second solo exhibition of paintings and drawings by Peter Busa will take a retrospective view of the artist’s career. The artwork is drawn from private collections as well as from the estate of the artist, and has been chosen and organized to illustrate the connections between the variety of formal conceits described above. The exhibition will include a select group of Indian Space Paintings, important Abstract Expressionist and Minimalist works, and an excellent selection of paintings that defy such simple categorization. Collectively the artwork dates from between 1945 and 1983.

Peter Busa’s work has been widely exhibited since his inclusion in the New York World’s Fair exhibition in 1939. Since that time his work has also been included in exhibitions at the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Walker Art Center (Minneapolis), and the National Museum of American Art at the Smithsonian Institution, to name a few. It is also worth noting that canvasses by Busa were included in eight Whitney Museum of American Art Annual Exhibitions between 1946 and 1972. Work by Peter Busa is in the permanent collections of all of the Museums listed above.

ACME Fine Art’s exhibition of paintings by Peter Busa will open on 5 September and run through 11 October 2008. For further information about this artist or 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 at 38 Newbury Street, Boston, Massachusetts, 02116. Summer Hours are 11:00 to 5:00 Tuesday through Saturday, and other times by appointment.


5 September – 11 October, 2008

On Friday, 5 September 2008 an exhibition of important oil paintings by the noted twentieth century expressionist painter Maurice Freedman will open at ACME Fine Art, 38 Newbury Street Boston, MA. A reception marking the occasion of the artist’s first solo exhibition at ACME Fine Art will take place on the following Friday, 12 September 2008 between 6:00 and 8:00 in the evening.The exhibition will feature a fine selection of works that date from as early as 1946, and will contain a variety of genres including, interiors, landscapes, and figural compositions, all painted in Freedman’s unique and distinctly expressionist manner. These boldly colorful canvases successfully convey –without self-consciousness- the spirit of the time in which they were painted, and they continue to delight the eye and the intellect.

Maurice Freedman’s art education began at the School of the Museum of Fine Arts, Boston in 1919. He also attended classes at the Massachusetts College of Art before moving to New York in 1927 to study at the Art Students League. Freedman’s formal education was completed with three years of study in Paris at the Academie L’hote.

Even at an early age Freedman’s richly colorful, wildly expressive canvases, were at once both modern and accessible. Positive critical response to his work came soon after his return to the U.S. In 1934, one of Freedman’s paintings was included in the Pennsylvania Academy of Fine Arts Annual Exhibition, and in the same year he signed with Midtown Galleries in Manhattan. Since that time his work has been included in museum exhibitions at the Carnegie Institute, the Metropolitan Museum of Art, the Americam Academy of Arts & Letters, the Washington University Art Gallery, and the Corcoran Gallery of Art. Today Maurice Freedman’s work is in the permanent collections of the Brooklyn Museum of Art, the Smithsonian Institution, Carnegie Institute, the Pennsylvania Academy of Fine Arts, and the Corcoran Gallery of Art.

ACME Fine Art’s exhibition of paintings by Maurice Freedman will open on 5 September and run through 11 October 2008. For further information about this artist or exhibition, or other gallery events please contact the gallery at 617.585.9551, or via e-mail at

Artist Biography: John Grillo

(1917- )

Hartford School of Fine Arts
San Francisco School of Fine Arts
Hans Hofmann School

Awards and Fellowships:
The Samuel S. Bender Award for Painting, San Francisco, CA, 1947
Ford Foundation Grant for Work in Lithography, 1964
Tamarind Workshop, Los Angeles, 1964
Ford Foundation Artist in Residence Appointment, 1964
Research Grant, University of Massachusetts at Amherst, 1969 & 1976
Wistariahurst Museum, Prize for Best Sculpture, Holyoke, MA, 1981
First Prize in Oil Painting, Longmeadow Shops, Longmeadow, MA, 1983

Teaching Positions:
Visiting Artists, Southern Illinois University at Carbondale, 1960
Instructor in Painting and Drawing, School of Visual Arts, NY, 1961
Visiting Artist, University of California at Berkeley, 1961-63, 1973
Instructor in Painting, New School for Social Research, NY, 1964-66
Visiting Artist, Iowa University at Iowa City, 1967
Visiting Artist, Studio School of New York, 1971
Professor of Fine Arts, University of Massachusetts at Amherst, 1967-1991
Instructor in Painting and Drawing, Provincetown Art Association and Museum 1995

Corporate Collections:
The Lannan Foundation
The Geigy Collection
The Jones Library, Amherst, MA
The Yasuna Collection
The Herskovic Collection
Hale and Dorr, Attorneys at Law
Union Carbide Corporation, NY
Westinghouse Corporation, Pittsburgh
Pet Milk Company, St. Louis, NY
Olsen Foundation, Guilford, CT
The James A. Michner Foundation
The University of Texas at Austin
Bocour Artist Colors Inc., Garnerville, NY
Merrill-Lynch, NY

Public Collections:
The British Museum
The Metropolitan Museum of Art
The Solomon R. Guggenheim Museum of Art
The Whitney Museum of American Art
The Brooklyn Museum of Art
The University of Texas Museum at Austin
Dartmouth College
The Wadsworth Athenaeum
Newark Museum
Walker Art Center
Los Angeles County Museum of Art
Butler Institute, Youngstown, OH
Bundy Art Gallery Museum, Waitsfield, VT
Smith College Museum
Bennington College
Portland Museum
Norfolk Museum
University of California Museum of Art
The University of California Museum of Art, Berkeley
The University of Massachusetts, Amherst
The International Museum of Erotic Art, San Francisco
The Springfield Museum of Fine Art, MA
The Worcester Museum of Art
Provincetown Art Association and Museum
The University of New Hampshire
Museo de Antioquia, Medellin, Colombia
Foro de Arte Contimporaneo, Mexico City
Museo Rayo, Roldanillo Valle, Colombia
Museo de Arte Moderno La Tertulia, Cali, Colombia
Stamford Museum of Art, CT
Zimmerli Art Museum, Rutgers University, NJ
Springfield Art Museum, MO

Selected Solo Exhibitions:
Daliel Gallery, Berkeley, CA, 1947
Artist’s Gallery, NY, 1948
Tanager Gallery, NY, 1952
Tibor de Nagy Gallery, NY, 1953, 1970
Bertha Schaefer Gallery, NY, 1955, 1957, 1959
Tanager Gallery, 1960
Ankrum Gallery, Los Angeles, CA, 1962
Worth Ryder Hall, University of California, Berkeley, 1962
Howard Wise Gallery, NY, 1961, 1962, 1963
Butler Institute, Youngstown, OH, 1964
New School for Social Research, NY, 1967
Grace Borgenicht Gallery, NY, 1975, 1977, 1978
Foro de Arte Contemporaneo, Mexico City, 1980
Arte Actual Gallery, Mexico City, 1981
Museo Zea, Madellin, Colombia, 1981
Jean Lumbard Fine Arts, 1982, 1983
Galeria Pluma, Bogota, Colombia, 1982
Sloan Rocotta Gallery, Mexico City, 1982
Gal A.R.T., Bogota, Colombia, 1984
University of Madellin, Madellin, Colombia, 1985
Provincetown Art Association and Museum, 1988
Museo de Antioquia, Medellin, Colombia, 1985, 1987, 1989, 1991
Carlson Gallery, San Francisco, 1989
Amherst Gallery of Fine Art, Amherst, MA, 1991
The University of Massachusetts, Amherst, 1983, 1987, 1988, 1989, 1990, 1991
The University of New Hampshire, 1997
Galerie Zhouf, Prague, 1998
Katherina Rich Perlow Gallery, NY, 1996, 1999
Aaron Galleries, Chicago, 2000
The Cove Gallery, Wellfleet, MA, 1989, 1998, 2000, 2001
Robert Green Fine Arts, Mill Valley, CA, 1998, 2000, 2002
Museo Italo Americano, San Francisco, 2002

Selected Group Exhibitions:
The Geigy Collection, Lincoln Center for the Performing Arts, NY, 1969
Recent Acquisitions, The Solomon R. Guggenheim Museum, NY, 1970, 1972, 1976
17th National Print Show, The Brooklyn Museum
New York University Collection, Hudson River Museum, Yonkers, NY
Tanager Artists of the ‘50s, Roko Gallery, NY
California Artists, 1944-52, Oakland Museum, CA
Selections from Hans Hofmann and His Students, University Art Museum, University of
California, Berkeley, 1974
Collages of the Fifties, Harpsichord and Buecker Gallery, NY, 1975
The Magic Circle, The Bronx Museum of Art, NY, 1976
Painters as Poets, University Gallery, The University of Massachusetts, Amherst, MA
40 Post War Painters, The Solomon R. Guggenheim Museum, NY, 1977
The Hansan Purchase Fund Exhibition, The American Academy, Institute of Arts and
Letters, NY, 1978
Hans Hofmann and His Students’ Drawings, Metropolitan Museum of Art, 1979
Twentieth Century Art from Area Collections, Museum of Fine Arts, Springfield, MA,
IV Biennial de Arte Medellin, Medellin, Colombia, 1981
Illusions of Light, Museum of Fine Arts, Worcester, MA, 1981
Studies for Major Works by Major Artists, Jean Lumbard Gallery, NY, 1982
The Gathering of the Avant-Garde: The Lower East Side, 1948-1970, Kenkelba
Gallery, 1985
Contemporary American Collage 1960-1986, Herter Gallery, The University of
Massachusetts, Amherst, traveling exhibition, 1987-1989
Paper Trails: San Francisco Abstract Expressionist Prints, Drawings and Watercolors,
The Art Museum of Santa Cruz County, Santa Cruz, CA, 1993
New York-Provincetown: A 50s Connection, The Provincetown Art Association and
Museum, MA, 1994
Provincetown Abstract Paintings 1915-1950 from the Penny and Hilton Yasuna
Collection, Provincetown Art Association and Museum, MA 1994
The San Francisco School of Abstract Expressionism, Laguna Art Museum, Laguna
Beach, CA, 1996
Pioneers of 20th Century Art, Robert Green Fine Arts, Mill Valley, CA, 2001
Karl Kasten companiles and UC Berkeley Art Friends, Galerie Sho, Tokyo, Japan,