Loew_PTP2013 February – 2 March, 2013

A retrospective survey of watercolors and drawings by noted abstract expressionist artist Michael Loew will open on Saturday 9 February at ACME Fine Art in Boston. A reception from 2:00 to 4:00 p.m. will mark the occasion. The exhibition will be on view through Saturday 2 March at the gallery and on-line at www.acmefineart.com.

This will be the third solo exhibition of Michael Loew’s popular abstractions; however, it will be the first that runs across periods in the artist’s body of work, and the first that focuses exclusively on works on paper. The exhibition will be composed of works created between the late 1930s and 1985, and it highlights drawings and watercolors that were made as studies for paintings or murals, as well as finished, stand alone artworks. All stand on their own merit as outstanding examples –not only of Michael Loew’s creative powers- but also, of the artistic spirit of modernism in the twentieth century.

Michael Loew was a master of weaving geometry with nature. He seemed to delight in exploring the limits of nature based abstraction. Throughout his career one can see a back and forth between the almost totally abstract, and the representational. Although it is impossible to say how and where Loew’s modern tendencies originated, it is fair to say that his experiences, his education, and his own interests led him in a distinctly avant-garde direction very early on. On the side of experience, one might point out his collaboration with DeKooning on a 1939 NYC World’s Fair mural that led to a life-long friendship that must have influenced Loew. Certainly, his post war training under one of the most important nature-based abstract expressionists, Hans Hofmann, also proved to have had significant influence. Then, there was his study abroad at the Atelier Leger. Although various influences may have come to bear on Michael Loew, his work is always in his own true voice, and that voice is consistently clear, concise, and elegantly expressive.

Michael Loew’s artistic talents were recognized as early as 1929 when he won the Sadie A. May Travelling Fellowship, and the honors continued with awards such as the National Endowment for the Arts Grant, the Judith Rothschild Grant, and the Guggenheim Memorial Foundation Fellowship. Today, Loew’s work is in the permanent collections of Art Museums such as the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Philadelphia Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Carnegie Institute Museum of Art, and the Albright Knox Art Gallery.

A comprehensive exhibition catalogue including an essay by Susan C. Larsen is available through the gallery. Please contact ACME Fine Art for further information about Michael Loew, or this exhibition.

Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY

ACME Freed Untitled Abstraction #217 November – 22 December 2012

An exhibition of paintings and works on paper titled: Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY will open with a reception from 2:00 to 4:00 p.m. on Saturday, 17 November 2012 at ACME Fine Art’s 38 Newbury Street gallery in Boston. The exhibition has been curated by the Provincetown Art Association and Museum’s Executive Director Christine McCarthy. With the intention of taking a fresh look at the body of work created by the two well-known New York and Provincetown based abstract expressionists, McCarthy focused on works in the artists’ estates that have not been previously exhibited. As a result, in addition to important oil paintings dating from as early as the couple studied with Hans Hofmann; the exhibition will also include a series of large freely executed tempera on paper still-life abstractions, as well as a fascinating group of modern fabric designs from the 1940s and 1950s by Orlowsky.

Lillian Orlowsky and William Freed met while both were Works Project Administration artists in New York in the late 1930s. Orlowsky is credited with introducing Freed to Hans Hofmann shortly after Hofmann established his School of Art in Manhattan, and the couple were among the first of Hofmann’s students to move to Provincetown during the summer months to participate in Hofmann’s School there as well.

Orlowsky and Freed developed lengthy and significant personal and professional relationships with Hofmann while building important careers in the avant-garde world of modern art in their own rights. In the mid-1950s, along with a group that included artists such as Jim Gahagan, Charles Littler, Robert Henry, Haynes Ownby and Myrna Harrison, they formed the nucleus of the James Gallery, an early artists’ cooperative gallery on 12th Street in Manhattan. Since that time, their artwork has been exhibited in numerous commercial galleries and in museum venues. Artwork by Lillian Orlowsky and also by William Freed is in the permanent collections of the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Cape Cod Museum of Art, and of the Provincetown Art Association and Museum to name a few.

The exhibition Lillian Orlowsky & William Freed: EMERGING at MID-CENTURY will be on view at ACME Fine Art from Saturday 17 November through Saturday 22 December 2012. Sales from the exhibition will benefit the Lillian Orlowsky and William Freed Foundation Grant program.

Myrna Harrison: PAINTINGS of the 1950s at ACME Fine Art, Boston

Harrison Chroma17 November – 22 December 2012

ACME Fine Art is pleased to announce that an exhibition of six rare early paintings by Myrna Harrison will open with a Reception from 2:00 to 4:00 p.m. on Saturday, 17 November 2012. The artist will be on hand to discuss her work and meet the public.

The featured works have been selected by Gallery Director David Cowan and are among the most abstract in the artist’s formidable oeuvre. They were created immediately following Harrison’s period of study at the Hans Hofmann Schools in both New York and Provincetown. Several of the paintings were also created during the period when Harrison was studying independently with noted Abstract Expressionist artist and educator, Jack Tworkov, and while studying at NYU with Philip Guston.

This exhibition is designed to coincide with a concurrent exhibition at ACME Fine Art of artwork by Lillian Orlowsky and William Freed who were close friends of Harrison’s. Both exhibitions draw from the same mid-century post-Hofmann experiences of the artists. All three helped form an early cooperative art gallery in Manhattan in the 1950s called the James Gallery. Other artist/members of the James Gallery included Robert Henry, Haynes Ownby, and Charles Littler.

Myrna Harrison is an accomplished artist and educator in her own right. Her artwork has been exhibited widely since the early 1950s is such venues as the Brooklyn Museum of Art, the Washington University Art Museum, and the Cape Cod Museum of Art. Earlier this year she was honored with a retrospective exhibition of her work at the Provincetown Art Association and Museum where she has been a participating member for sixty years. Artwork by Ms. Harrison is in numerous private collections as well as the permanent collections of the Rose Art Museum at Brandeis University, the Phoenix Art Museum, the Provincetown Art Association and Museum and the Cape Cod Museum of Art.

In conjunction with the publication of a monograph about her that was published earlier this year Harrison wrote: Oceans and deserts fascinate me. They share spatial openness, an unending skyline, subtle changes in form and color as the sun moves across the sky, and a demand that we adapt to them. They will not adapt to us. Both have an intense, vibrant presence — which is not surprising: deserts began life as oceans millions of years ago. I want my work to express that vibrant intensity. The monograph is available through ACME Fine Art and through the Provincetown Art Association and Museum as well.

Myrna HARRISON: PAINTINGS of the 1950s will be on view at ACME Fine Art through Saturday, 22 December 2012. Please contact the gallery at info@acmefineart.com for further information about the artist and/or the artwork.


Picture 06215 September – 3 November 2012

ACME Fine Art’s opening exhibition of the Fall Season will be a group exhibition of important canvases by four of America’s top expressionist painters. The exhibition will open with a reception from 2:00 to 4:00 p.m. on Saturday 15 September, and will be on view through Saturday 3 November 2012.

DIRECTOR’S CHOICE 2012 was organized and curated by Gallery Director David Cowan who selected works from the estate of first generation abstract expressionist Giorgio Cavallon, from the estates of groundbreaking figurative expressionists Lester Johnson and George McNeil, and from the “white series” group of paintings that were created by former Rhino Horn artist Jay Milder during the 1970s. All of the artwork is fresh and new to the gallery. Most of the pieces have not been exhibited since their gallery debuts during the second half of the twentieth century.

Thematically speaking, this exhibition presents powerful paintings by powerful painters. Without exception, the paintings that comprise this Director’s Choice show are bold –in most cases monumental- blockbusters that convey the artists’ passion for the medium and for his message. They are abstract, compelling, and evocative, and they veritably demand response from the viewer.

For more information about the exhibition or about Jay Milder, George McNeil, Lester Johnson and/or Giorgio Cavallon please contact the gallery. The entire exhibition will be viewable on-line at www.acmefineart.com. This exhibition will run concurrently with the solo exhibition: GEORGE LLOYD: INSIDE / OUT.

GEORGE LLOYD – INSIDE/OUT an Exhibition of Paintings and Drawings

ACME Lloyd Summer Construct 1981 oc 20 x 1615 September – 3 November 2012For ACME

Fine Art’s opening exhibition of the 2012 fall season, the gallery will present the fourth solo exhibition of paintings and drawings by George Lloyd. The exhibition will be on view from 15 September to 3 November 2012, and will open with a reception from 2:00 to 4:00 p.m. on Saturday 15 September.

The exhibition will feature a group of works that span Lloyd’s four decade long career as an artist and will focus on the artist’s interest in the formal deconstruction and reinvention of interior space. Gallery Director David Cowan curated the exhibition that consists of five important oil paintings and one early drawing that were created in a variety of locations –mostly where Lloyd was teaching at the time: Berkeley, CA, Ithaca, NY, Middletown CT, Bangor and Portland ME. These works incorporate a variety of formal and technical devices to blur the sense of real space and draw the viewer into the painter’s world of complex spatial ambiguity.

Looking at the paintings as a group, they are a riot of color. However, it is the palette chosen by the artist that depicts each work to the location where it was conceived and created, and simultaneously reveals the artist’s maturing point of view about his own sense of place. The architectural elements that are visible in these scenes provide a visual framework that organizes the canvas. The mundane objects –often still life elements present in Lloyd’s kitchen or studio- link the artwork to a common experience and lock in a sense of reality to what are ultimately skillfully conceived works of fiction. These are sophisticated, intimate, and most of all, compelling works of art that come to life in the viewing experience.

For more information about George Lloyd, please contact ACME Fine Art.


Baker, Norman Mailer 1998Twentieth century American painting from New England’s summer art colonies will be the focus of ACME Fine Art’s summer-long exhibition. The salon style show will open on the 21 July and will run through 18 August 2012.

More than twenty artists and over thirty works will be included in the exhibition that will present a stylistic cross section of modern art in America. Coastal New England art colonies such as Monhegan Island and Cranberry Island in Maine, and Wellfleet and Provincetown in Massachusetts are the sources for much of the artwork that will comprise the exhibition, and the New England coastline will be the loosely interpreted theme. Artwork from the early twentieth century will include paintings by Charles Demuth, Charles Hawthorne, E. Ambrose Webster, Edwin Dickinson, Jack Tworkov, and Karl Knaths.  Fine examples by mid-century artists such as: Hans Hofmann, George McNeil, Giorgio Cavallon, Lester Johnson, Stephen Pace, Edward Corbett, Haynes Ownby, Michael Loew, Daniel Brustlein, Charles Littler, Seong Moy, Dorothy Eisner, John Grillo, James Gahagan, Tony Vevers, and James Lechay. The exhibition also features a fine selection of paintings by late twentieth century and contemporary artists: Alex Katz, Helen Frankenthaler, Myrna Harrison, Richard Baker, Robert Beauchamp, Mary Frank, Helen Miranda Wilson, Rose Basile, Ron Shuebrook, Susan Baker, and Sharli Powers Land.

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 by appointment. For further information about the exhibition or the artists please contact ACME Fine Art at info@acmefineart.com or 617.585.9551. The entire exhibition will be viewable at www.acmefineart.com.

PROVINCETOWN VIEWS A Group Exhibition Of More Than 40 Artists

Knaths Agnes and Helen19 May – 23 June, 2012

Provincetown Views, a group exhibition featuring twentieth and twenty-first century artwork by more than forty artists will open at ACME Fine Art’s 38 Newbury Street Galleries on 19 May 2012.

The exhibition will be titled Provincetown Views and will focus thematically on the artists’ view of what has come to be considered America’s most important art colony, Provincetown Massachusetts. Gallery Director David Cowan has assembled the artwork for the exhibition from a variety of sources, including private collections, estates of artists, artists that ACME Fine Art represents, and from numerous contemporary artists currently creating artwork in Provincetown. This special exhibition is being mounted as a tribute to the Fine Arts Work Center in Provincetown. The Fine Arts Work Center is a not-for-profit organization based in Provincetown, Massachusetts that is the single largest provider of fellowships to emerging visual artists and creative writers in the World. A portion of all sales proceeds throughout the duration of the exhibition will be donated to the Fine Arts Work Center in Provincetown. Provincetown Views will be on view at ACME Fine Art through Saturday 23 June 2012.

The exhibition will be presented in a salon style format that will allow the juxtaposition of what might now be considered the traditional viewpoint of artists such as Charles Hawthorne, E. Ambrose Webster and Edwin Dickinson with the point of view demonstrated by modern masters such as Hans Hofmann, Jack Tworkov, Karl Knaths and Giorgio Cavallon.

Likewise, the exhibition will showcase classic examples of white-line woodblock “Provincetown” prints by artists like Ferol Warthen, Grace Martin Taylor, and Bill Evaul, alongside monotypes and contemporary “constructions” by artists such as Susan Baker and Paul Bowen. The expressionist’s vision of Provincetown will be seen in mid-twentieth century paintings by Maurice Freedman, Myrna Harrison, Lester Johnson and Lillian Orlowsky. This can be seen in contrast to the realist precision presented in the contemporary work created by artists such as John Dowd, Paul Kelly, Marion Roth, and Michael David. Landscapes by twentieth century moderns Daniel Brustlein, Virginia Berresford, Wolf Kahn, and Tony Vevers will be presented alongside interior views by their contemporaries Mary Hackett, and Biala (Janice Tworkov.)

In recognition of the essential role that the Fine Arts Work Center in Provincetown plays in assuring the long-term vitality of the contemporary arts scene on the outer Cape, the Provincetown Views exhibition will also feature “views” by a number of former Fine Arts Work Center fellows in the visual arts. In addition to those already mentioned above, this illustrious group will include: Bailey Bob Bailey, Ron Shuebrook, Sharli Powers Land, Stewart MacFarlane, Polly Burnell, and Richard Baker, among others.

A special Exhibition Preview Event to benefit the Fine Arts Work Center will be hosted by the Galleries at 38 Newbury Street on Thursday 17 May. Drinks and hors d’oerves will be served between 6:00 and 8:00 p.m. The event is sponsored by the Boston Phoenix and MAX Ultimate Food. Tickets for the preview can be purchased through the Fine Arts Work Center, gleghorn@fawc.org or www.fawc.org/tickets , or ACME Fine Art (www.acmefineart.com). Please contact the gallery for further information.


Sunbathers small17 March – 5 May 2012

An exhibition of the work of noted twentieth century artist Kenneth Stubbs will open at ACME Fine Art’s 38 Newbury Street Gallery on Saturday 17 March 2012. A public reception from 2:00 to 4:00 p.m. will mark the occasion.

This will be ACME Fine Art’s fourth solo exhibition of the artwork of Kenneth Stubbs. While others have been genre or medium focused this exhibition will be retrospective in nature –covering over thirty productive years of the artist’s career- and will highlight important works from still life and landscape genres. The artwork for the exhibition was selected by Gallery Director David Cowan, and will feature a fine group of works from the artist’s estate that have not been exhibited in more than 20 years. A select group of paintings and watercolors that were part of the Provincetown Art Association and Museum October/November 2011 solo exhibition honoring Mr. Stubbs will also be included in the ACME Fine Art exhibition.

Kenneth Stubbs was the consummate modernist. Early on he studied with E. Ambrose Webster as a part of Webster’s first Modern School of Art in Provincetown Massachusetts. Mr. Webster and Provincetown became the two most important influences on Stubbs’ work. Using Webster’s teaching as a foundation, Stubbs was able to develop and synthesize a golden section based analytical cubist approach that became his signature. Provincetown provided the avant-garde creative atmosphere and inspiration, as well as the subject matter for much of his work.

In his essay accompanying the monograph that was published in conjunction with the aforementioned 2011museum exhibition, Dr. Robert Metzger described Kenneth Stubbs as “a seminal figure among a small group of American Cubists in the 1920s and 1930s, all of whom were influenced by the images and style of Pablo Picasso, yet few produced a body of work as singular and accomplished as Stubbs.” He went on to describe Stubbs’ work as that of “an American original.” Dr. Metzger concluded by adding: “Stubbs’ work over the decades successfully adapted Cubism to his own dazzling style which was remarkable for its quality and range. Cubism required skill, dedication, and tenacity as well as a maverick streak, [all] of which Stubbs amply possessed.”

KENNETH STUBBS: A Retrospective Exhibition will be on view at ACME Fine Art from Saturday, 17 March to Saturday, 5 May 2012. The recently published monograph about the artist is available through the gallery. Further information about the artist is available at www.acmefineart.com or by contacting the gallery at 617.585.9551 or gallery@acmefineart.com .



ACME Freedman Pemaquid LighthouseACME Fine Art will welcome in the New Year with an exhibition of watercolors and oil paintings by four notable modern artists who chose the coast of Maine as their subject matter during the mid-twentieth century’s revolutionary artistic heyday. The artists selected for this thematic group exhibition curated by Gallery Director David Cowan are: Maurice Freedman, Dorothy Eisner, Philip Malicoat, and Michael Loew. The exhibition will open with a reception from 3:00 to 5:00 p.m. on Saturday, 21 January 2012, and will remain on view through Saturday the 3rd of March.

The four artists whose work will be represented in the exhibition all demonstrate both and affinity and an appreciation for Maine’s rocky coastline in their work; however, they also share a singularly modern artistic viewpoint on Maine as subject matter. Beyond subject, it is important to acknowledge that each of artist’s body of work reveals a unique and highly personal point of view. The curatorial intent is that through the juxtaposition of this particular group of artists’ distinctly different approaches to representational abstraction as demonstrated in the artwork selected, the intellectually and emotionally rich aspects of each will be brought into focus and highlighted.

Maurice Freedman’s deliciously chromatic canvases are a paean to the Expressionist idiom and tradition of both American and Northern European modern art. Michael Loew’s sensitively conveyed watercolors hover between Neo-plasticism and Expressionism, and the result is a kind of luminous, painterly poetry that reveals Loew’s personal perspective on Monhegan Island. Dorothy Eisner’s spirited paintings of her beloved Cranberry are intensely personal in a different way. They are a joyous riot of bold color and form that capture a place and this artist’s world within it. Philip Malicoat’s retreat in Jonesport Maine inspired canvases and watercolors that are carefully composed and quietly reflective. The quality of light and the distinctive viewing angle often taken by Malicoat give the artwork a moody, almost surreal quality, while at the same time creating a sense of timeless memory.

Additional information about the artists the exhibition DIRECTOR’S CHOICE: THE SUBJECT IS MAINE or the artists represented can be found at www.acmefineart.com or by contacting the gallery at 617.585.9551. The entire exhibition will be available for viewing on the gallery web site following the gallery opening.

Mary Hackett

Mary Hackett


Mary Hackett was born in 1906 in New York City. Her father Cleveland Moffett was a writer and journalist, author of children’s books and mysteries, and an editor at the Paris Herald. She attended Brearley and Lincoln schools and briefly Cornell University, but she never had any formal art training.

In 1926 in Paris she married Chauncey Hackett, a Washington, D.C., lawyer. They had three children, Wendy, Thomas and Patrick. In the early 1930s the Hacketts visited Provincetown for the first time. After several summers renting various houses around town they bought the house on Nickerson Street where she lived until her death.

From the 1930s on she showed regularly at the Provincetown Art Association and during the 1940s at Don Witherstines’ Shore Studios in the West End. In 1970 she had a show at the studio of Jack Gregory on Nelson Avenue. In 1981 she had a large retrospective at the Provincetown Art Association and Museum and another in 1987 at the Chandler Gallery in Wellfleet. She was included in the Long Point Gallery invitational “75:A Celebration” in 1989. She died in September of 1989.