Pat Lipsky

Lipsky1

Photo courtesy: Stephanie Cassidy 

PAT LIPSKY
(1941 – )

EDUCATION
M.F.A. Hunter College, New York, NY

B.F.A. Cornell University, Ithaca, NY

SOLO EXHIBITIONS
2015      Pat Lipsky: Twenty Years, ACME Fine Art, Boston, MA

2006      Color Paintings, Elizabeth Harris Gallery, New York, NY

2006      Les Vitraux, The Church Cathedral of St John the Divine, New York, NY

2005      New Monotypes, Aurobora Press, San Francisco, CA, 2005

2004      Elizabeth Harris Gallery, New York, NY

2003      Elizabeth Harris Gallery, New York, NY

2003      L.I.C.K. Ltd. Fine Art, Long Island City, NY

2002      Les Vitraux, Galerie Piltzer, Compagne, Barbizon, France

2001      Elizabeth Harris Gallery, New York, NY

1999      Elizabeth Harris Gallery, New York, NY

1999      The Kitchen, New York, NY

1997      Lori Bookstein Fine Art, New York, NY

1994      Virginia Miller Gallery, Coral Gables, FL

1991      Andre Zarre Gallery, New York, NY

1989      Slater-Price Fine Arts, New York, NY

1988      Gloria Luria Gallery, Bay Harbor Island, FL

1987      Promenade Gallery, Hartford, CT

1978      Medici-Berenson Gallery, Bay Harbor Island, FL

1978      Andre Zarre Gallery, New York, NY

1976      Berenson Gallery, Bay Harbor Island, FL

1976      Deitcher OReilly Gallery, New York, NY

1975      Andre Emmerich Gallery, New York, NY

1974      Andre Emmerich Gallery, New York, NY

1974      Berenson Gallery, Bay Harbor Island, FL

1972      Andre Emmerich Gallery, New York, NY

1971      Everson Museum of Art, Syracuse, NY

1971      London Arts Gallery, Detroit, MI

1970      Andre Emmerich Gallery, New York, NY

1968      Farleigh Dickinson University, Rutherford, NJ

SELECTED GROUP EXHIBITIONS
2014      Cadence, Margaret Thatcher Projects, New York, NY

2012      Hanji Metamorphoses, High Line Gallery, New York, NY

2011      Art in Embassies, The Hague, OPCW, The Hague, Netherlands

2011      Never the Same Twice, DC Moore Gallery, New York, NY

2010      Instructors Group Show, The Art Students League of New York, New York, NY

2010      Aurobora Press, Ideal Forms Summer Select, San Francisco, CA

2009      The Print Gallery, Annual Exhibition, Philadelphia Eagles at Lincoln Field,
Philadelphia, PA

2009      Expanding Boundaries: Lyrical Abstraction: Selections from the Permanent Collection, Boca Raton Museum of Art, Boca Raton, FL

2009      Gallery Selections, Spanierman Modern, New York, NY

2008      The 183rd Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY

2008      No Chromophobia, OK Harris, New York, NY

2007      The Other Half, Women in the Collection, Boca Raton Museum of Art,
Boca Raton, FL

2007      Paintings of Color, Tribes Gallery, New York, NY

2006      Neoplastic Redux, Elizabeth Harris Gallery, New York, NY

2005      Master Prints by 44 Artists, Art Gallery, Univ. of Colorado at Denver, CO

2005      American Embassy, Sarajevo, Bosnia

2004      The Art of the Definite, DC Moore Gallery, New York, NY

2003      Holiday Group Show, Ruth Bachofner Gallery, Santa Monica, CA

2003     The Print Fair, Seventh Regiment Armory, New York, NY

2001       American Academy of Arts & Letters Ceremonial Exhibition of Prize Winners, New York, NY

2001       American Academy of Arts & Letters Invitational Exhibition of Painting & Sculpture, New York, NY

1998       A Year in the Life of Modernism, Tribe Gallery, New York, NY

1997       Arbus to Zynsky, Norton Museum of Art, Palm Beach, FL

1997       Selections from Twentieth Century Modernism, Lori Bookstein Fine Art, New York, NY

1996       Small Gems, Tribe Gallery, New York, NY

1996       Affinities, Snyder Fine Arts, New York, NY

1996       Sixteen by One, Gallery One, Toronto, Canada

1995       In Small Dimension, Andre Zarre Gallery, New York, NY

1994       Summer Show, CS Schulte Gallery, Millburn, NJ

1994       Ambassadors Choice, State Department, Mexico City, Mexico

1993       Directors Choice, Virginia Miller Gallery

1993       Group Show, Galerie Denise Rene, Paris, France

1993       Some Important Works, CS Schulte Gallery, Millburn, NJ

1992       Celebrating Formalism, CS Schulte Galleries, Millburn, NJ

1992       Three from New York, Gloria Luria Gallery, Miami, FL

1991       Ernesto Mayans Gallery, Santa Fe, New Mexico

1990       Andre Zarre Gallery, New York, NY

1988       Summer Show, Ruth Siegel Gallery, New York, NY

1988       Interior Visions, Herbert F. Johnson Museum, Ithaca, NY

1988       Lillian Heidenberg Gallery, New York, NY

1987       Still Life Painting, University of Massachusetts, Amherst, MA

1987       Vistas, G.W. Einstein Gallery, New York, NY

1986       New Solutions, Gloria Luria Gallery, Bay Harbor Island, FL

1986       Five Galleries at the Aetna Institute, Hartford, CT

1985       Andre Zarre Gallery, New York, NY

1983       Women in the Collection, Herbert F. Johnson Museum, Ithaca, NY

1983       Pat Sutton, Peter Reginato, Jane Love Gallery, Salisbury, CT

1979       Sarah Rentschler Gallery, New York, NY

1978       Sketch-Books and Preparatory Drawings, Miami Dade Jr. College, Miami, FL

1977       Invitational Painting Exhibition, Moravian College Art Gallery, Bethlehem, PA

1976       25 American Artists, Andre Zarre Gallery, New York, NY

1976       Invitational Painting Exhibit, Skidmore College Gallery, Saratoga, NY

1974       Opening exhibition, Hirshhorn Museum and Sculpture Garden, Washington, D.C.

1974       Art in Public Places, The Toledo Museum of Art, Toledo, OH

1974       Faculty Show, San Francisco Art Institute, San Francisco, CA

1974       Ten Years, Larry Aldrich Museum, Ridgefield, CT

1974       Waves, Grand Rapids Art Museum, Grand Rapids, MI

1973       Images of Movement, Stamford Museum and Nature Center, Stamford, CT

1973       Waves, Cranbrook Academy of Art Museum, Bloomfield Hills, MI

1972       Selections, Larry Aldrich Museum, Ridgefield, CT

1971       Lyrical Abstraction, Whitney Museum of American Art, New York, NY

1971       Paintings of the Sixties, Tyler Museum of Art, Tyler, TX

1971       Projected Art: Artists at Work, Finch Art Museum, New York, NY

1970       Recent Acquisitions of the Michener Collection, University of Texas, Austin, TX

1970       Lyrical Abstraction, Phoenix Art Museum, Phoenix, AZ

1970       Contemporary Art 1970, Kansas State University, Manhattan, KS

1970       Highlights,1969-70, Lyrical Abstraction, Larry Aldrich Museum, Ridgefield, CT

1969       Allan Stone Gallery, New York, NY

1967       Chase Manhattan Bank, New York, NY

BIBLIOGRAPHY
2013      Webster, Camilla, New York Natives, Because it Matters: Is it Convincing?, November 6

2012      Lalitamba, cover reproduction “Dowager,” Homolka, Florence, Interview with Pat Lipsky,
pg. 123—133

2011      Modern Painter, “Ins and Outs,” Gallery Hops, September, pg. 11

2011      Armstrong, Tom, “A Singular Vision,” The Quantuck Lane Press, pg. 198, 205, 213

2011      Bradbury, Dominic (photographs), Frances, Scott (text), “Light and Sound,” House and Garden, April, p. 151

2010      Giovanni, Joseph, “In the Garden,” Architectural Digest, October, p. 101

2009      Riley, II, Charles A., “Art at Lincoln Center: The Public Art and List Print and Poster Collections,” April, p. 198

2009      Goodrich, John, “Gallery Beat,” City Arts, NY Press, July 29, pg. 9

2009      “Highlights” Pat Lipsky, AAP, Cornell, Architecture Art Planning, News 06, Spring, pg. 23

2009       Swartz-Turfle, Harry, “When Beauty is Enough,” Daily Gusto, Feb 4

2008      “Goings on About Town,” The New Yorker, July 7, p. 8

2008      Halasz, Piri, “From the Mayor’s Doorstep, No. 79” (June/July, 2008) p. 45-46

2008      Kunitz, Daniel, “The Grab-Bag Anthology,” The New York Sun, June 5, pg. 17

2008      Rosenberg, Karen, “Where Have All the Paintings Gone? To the National Academy,” The New York Times, May 30, pg. E4

2007      Fraser Jenkins, David, Seeing Color, Lipsky and PiperThe British Journal of Stained Glass, December, p 95-102

2007      Wilkin, Karen, Pat Lipsky at Elizabeth HarrisArt in America, March, p. 170

2006      Cohen, David, “Afterlife of an Ideal,” The New York Sun, June 29, pg. 16

2006      Halasz, Piri, “Deserted Playing Field, No. 69” (15 July) Supplement to the deluxe print edition

2005      Perry, Vicky, “Abstract Painting, Concepts and Techniques,” Watson Guptill, pgs 15, 58, 82

2005      Raven, Ann, “A Landscape in the Abstract Shapes Its Dwelling,” The New York Times, June 16, F6

2005      Qualls, Larry, “Between the Sheets,” Art on Paper, May/June, pg. 16

2005      Westfall, Stephen, “Review of Exhibitions,” Art in America, February

2004      Halasz, Piri, “From the Mayor’s Doorstep, No. 56” (15 October, 2004) Supplement to the deluxe print edition

2004      Cohen, David, The New York Sun, September 23

2003      Johnson, Ken, “Art in Review,” The New York Times, April 4, D4

2003      Johnson, Ken, “Last Chance,” The New York Times, April 11, D8

2003      “Goings on About Town,” The New Yorker, April 14, p. 16

2003      Wilkin, Karen, “Anywhere In Between,” The New Criterion, June 2003

2003      Wilkin, Karen, “Formalist Investigations of Medieval Forms: Pat Lipsky and the Spirit of Color,” PAJ Journal, 73, January, pp. 61-69

2002      Rothschild, Jo Ann, “Pat Lipsky’s Recent Abstractions,” Art New England, Feb/March, pp. 20-21

2001      Zimmerman, Mark, “The Stillness of Painting,” PAJ, no. 69, September, pp. 71-73

2001      Wilkin, Karen, “At the Galleries,” The Partisan Review, Spring, 2, pp. 285-288

2001      Halasz, Piri, From the Mayor’s Doorstep, piri.home.mindspring.com, p. 10

2001      Snow, Erica, NY ARTS, March, p.71

2001      Walentini, Joseph, Abstract Art Online, vol. 111, #6, February, pp.  1-3

2001      Goodrich, John, “Pat Lipsky,” ReviewNY.com, February 15

2000      Wilkin, Karen, At the Galleries, Partisan Review, Winter, 1, pp. 146-148

1999      D’Souza, Aruna, Review of Exhibitions, Art in America, December, p. 111

1999      Walentini, Joseph, Artist Profile, Abstract Art online, November, pp. 1-3

1999      Halasz, Piri, From the Mayors Doorstep, NY ARTS, October, p. 19

1999      Goings on About Town, The New Yorker, October 4, p. 22

1999      Walentini, Joseph, Gallery Views/Chelsea, Abstract Art Online, October

1999      Johnson, Ken, Art Guide, The New York Times, September 17, E37

1999      Hanks, Victoria, Studio Visit with Pat Lipsky, NY ARTS, September, vol. 4, no. 8, p. 55

1999      Coleman, Janet, An Interview with Pat Lipsky and Ted Wiprud, WBAI Radio, February

1997      Wilkin, Karen, Pat Lipsky: The Black Paintings, 1993-1997, catalogue essay, Lori Bookstein Fine Art, August

1997      Halasz, Piri, Ph.D., “A Gathering of the Tribes,” From the Mayors Doorstep No. 6B

1997      Coleman, Janet, An Interview with Pat Lipsky, WBAI Radio, May

1996      Wilkin, Karen, At the Galleries, Partisan Review, Fall

1996      Smith, Roberta, Across Cultural Bounds, The New York Times, August 2

1994      Bernstein, Charles, “Pat Lipsky Sutton,” Art Papers, Volume 18, July/August

1994      Damian, Carol, Coral Gables, Artnews, May

1994      Turner, Elisa, “Diamonds and Other Gems,” The Miami Herald, January 14

1993      Crum, Katherine, “Pat Lipsky Sutton and the Challenge of Formalism,”Womans Art Journal, vol 14

1993      Karlins, N.L, “Pat Lipsky Sutton’s Resounding Rectangles,” The Westsider, October 24

1991      Rosoff, Patricia, “Pat Sutton,” Arts Magazine, Summer

1990      A Local Accent, Hartford Courant, D17, September 24

1990      North Shore Sensibility, Architectural Digest, July

1989      Art Scene, Switch (Japan), November

1989      Berkman, Meredith. Family Plot, New York Magazine, October 16

1988      Ahlander, Leslie Judd, “Bold New Still Lifes Stun and Fascinate,” Miami News, April 15

1987      Damsker, Matt, “Dynamic Duo,” Hartford Courant, May 24

1987      Damsker, Matt, “Works Cap,” Hartford Courant, May 21

1986      Hanson, Bernard, Works of Art School Faculty, Hartford Courant, November 16

1986      Langford, Sandra, Report From VCCA, Authors Guild Bulletin, Fall

1986      Hanson, Bernard, Five Galleries at Aetna, Hartford Courant, June 1

1983      Art Fundamentals – Theory and Practice, Octivick

1982      Trends and Testimonies of Contemporary Art, Accademia, Italia

1982      Monteverdi, Mario, The History of International Art

1980      Frackman, Noel, and Thornton Willis, Arts Magazine, November

1977      Bell, Linda, Reviews, Arts Magazine, January

1976      Frank, Peter, Reviews, ARTnews, December

1976      Kramer, Hilton, Reviews, The New York Times, October 29

1976      Glueck, Grace, Art People, The New York Times, September 17

1976      Siegel, Judy, “Wither Painting? Artists Talk on Art,” Women Artists Newsletter, April

1976      Frackman, Noel, “Pat Lipsky Sutton,” Arts Magazine, January

1975      Wooster, Anne S, Reviews, ARTnews, September

1975      Siegel, Jeanne, Reviews, Art in America, September

1975      Hodgson, Moira, Interview with Pat Lipsky, The Soho Weekly News, July 10

1974      Whee, Kim, “A Personal Definition of Pictorial Space,” Arts Magazine, November

1974      Bell, Jane, Reviews, Arts Magazine, May

1974      Siegel, Jeanne, Reviews and Previews, ARTnews, April

1974      Mellow, James R, “Two Shows Brighten Soho Scene,” The New York Times, March 2

1974      Bowling, Frank, “A Modest Proposal,” Arts Magazine, February

1973      Smith, Alvin, “New York Letter,” Art International, The Lugano Review, October

1972      Hess, Thomas, “Thick Paint and Hofmann,” New York Magazine, December 18

1972      Reviews, Art in America, October

1972      Siegel, Jeanne, Reviews and Previews, ARTnews, October

1971      Willis, Domingo, “Color Abstraction,” Arts Magazine, January

1970      Exhibitions Contemporary Art 1970, Kansas State University Press, Manhattan, KS

1970      Reviews and Previews, ARTnews, September

1970      Pat Lipsky at Emmerich, Arts Magazine, Summer

1970      Kramer, Hilton, “Two Interesting Talents Make Debut,” The New York Times, June 13

1969      Aldrich, Larry, “Young Lyrical Painters,” Art in America

LECTURES, INTERVIEWS, WRITING
2014      Art Students League, Winter Lecture Series, What Happened to the Art World?, January 7

2013      Art in America, Letters, Greenberg Vs Krauss, Letter to the Editor, October, pg. 20

2013      New York Natives, Native Icon, Pat Lipsky: Unrepentant Abstract Painter, video interview, September

2013      LineaInterview with Pat Lipsky, Ira Goldberg, June

2013      LineaThe Studio Project, Stephanie Cassidy, April

2012      Hanji Seminar, lecture on materials, Korean American Association, New York, June

2012       Lalitamba #5, An Interview with Pat Lipsky, Homolka, Florence, pg. 123-133

2011      ARTBEAT, What Tony, Lee and Clem Told Me, March, Issue 6, pg. 30

2010      The East Hampton Star, “The Last Act,” fiction by Pat Lipsky, June 10th

2009      New York Studio School, Spring Lecture Series, Feb. 3, The Right Color

2007      Sherwin, Brian, Art Space Talk: Pat LipskyMyArtsSpace Blog, September 6

2002      Morris Louis, video by Robert Pierce, Robert Pierce Productions

1999      Coleman, Janet, “An Interview with Pat Lipsky and Ted Wiprud,” WBAI Radio, February

1997      Coleman, Janet, “An Interview with Pat Lipsky,” WBAI Radio, May

1984      The Importance of Taste in Art, panel discussion, with Clement Greenberg, New York University

HONORS & AWARDS
2008      Pollock Krasner Foundation Grant

2008      Edwin Palmer Memorial Prize, National Academy Museum

2004      Lincoln Center Prints Program, Silk Screen Poster and Print Edition, Keyboard Variations

2001      Purchase Prize, Hassam Speicher Betts Funds, American Academy and Institute of Arts and Letters

2000      Krasner-Pollock Foundation Grant

1999      Adolph and Esther Gottlieb Individual Support Grant

1999       Jerome Foundation, Dark Love

1998      New York Foundation for the Arts, Dark Love

1998      New York State Council on the Arts, Dark Love

1997      Dictionary of International Biography

1996      New York Foundation, Painting in Ireland, Tyrone Guthrie Centre, Co Monaghan, Ireland

1993      Virginia Center for the Creative Arts

1992      New York Foundation for the Arts, Painting in France

1992      Winsor & Newton Paint Company, Painting in France

1991      Coffin Grant, University of Hartford

1989      Two Thousand Notable American Women

TEACHING
2010-       Instructor, Art Students League

1997         Visiting Artist, Chautauqua Institution, Chautauqua, New York

1990         Instructor, Parsons School of Design, New York

1983-02     Associate Professor, Hartford Art School, University of Hartford

1982-83    Instructor, Parsons School of Design, New York

1980-81    Instructor, State University of New York, Purchase

1974          Visiting Artist, San Francisco Art Institute, San Francisco

1972-73    Instructor, Hunter College, New York

1968-69    Instructor, Farleigh Dickinson University, Teaneck, New Jersey

JACK TWORKOV: CONSTELLATION OF A PICTURE AT BOSTON’S ACME FINE ART

PREVIEW TO BENEFIT FINE ARTS WORK CENTER IN PROVINCETOWN ON MAY 1

Tworkov FAWC Invitation

EVENT LISTING:
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
__________________________________________________

To Purchase Tickets
FAWC Press Release

 

 

 

Hidden Gems by New York School Artist Jack Tworkov to be Unveiled in Boston Exhibition

Tworkov Sound 1966

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
Boston, MA

Tickets $75 (Premium Tickets also available)

 

From dreamy images, reality is revealed By Cate McQuaid | BOSTON GLOBE APRIL 01, 2014

Back in time

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.”

 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.”

EXHIBITION OF PAINTINGS BY JACK TWORKOV

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.

Tworkov FAWC Invitation

 

Artists of the James Gallery and Panos Ghikas Opens Today

gallery pics 138
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 orinfo@acmefineart.com. The entire exhibition is viewable on-line at www.acmefineart.com.

PANOS GHIKAS: EQUILIBRIUM

PANOS GHIKAS: EQUILIBRIUM
at ACME FINE ART
Press Release

Ghikas_GiveYourHeartToTheHawks

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 info@acmefineart.com. The entire exhibition will be viewable on line at www.acmefineart.com.

 

Dorothy Eisner

DOROTHY EISNER

(1906-1984)

 

EDUCATION

Art Students League
Academie Grand Chaumiere, Paris

MEMBER

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

SELECTED EXHIBITIONS

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)

SELECTED COLLECTIONS

Metropolitan Museum of Art
Ogunquit Museum of American Art
Farnsworth Museum
Museum of the College of the Atlantic
Art Gallery of Hamilton, Ontario
Harvard University
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

Nanno de Groot

de groot, nanno

Nanno de Groot
(1913-1963)

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

Artist Statement
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.

Biography
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.