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“Hiding in Plain Sight,” an exhibition of objects common, and curious will be on view at FreedmanArt, New York through December 29, 2018. The exhibition explores the transformation of common objects. The works of art have been made of marble, bronze, or oil paint on well-prepared canvases. Modernism turned artists’ attention to fugitive materials.
FreedmanArt presents “Hiding in Plain Sight, Objects Common & Curious,” in collaboration with American art critic, writer, and poet Carter Ratcliff. An investigation of the transformation of common, found, and readymade objects, the exhibition features works by early 20th century masters through today’s contemporary masters including Alexander Calder, Joseph Cornell, Helen Frankenthaler, Pablo Picasso, Nancy Graves, Frank Stella, and Jean Shin, among others.
FreedmanArt is pleased to present its next exhibition, which explores the transformation of common objects. "Hiding in Plain Sight celebrates the artist's power to transform the ordinary. As revision becomes visionary, art becomes revelatory, and we begin to see common objects as the bearers of previously unimagined possibilities." - Carter Ratcliff
Joseph Cornell, Pocket Object, 1949-1950; mixed media construction; 3 1/2 x 2 1/4 x 3/4 inches
Colors, at FreedmanArt, 2018
Also on the Upper East Side, through early May, “Colors,” at FreedmanArt, brings together the work of more than twenty-five artists, all known for their inventive, expressive use of color, whether brilliant, raucous, or muted. It’s a notably diverse group of works on paper, paintings, and collages by such luminaries as Josef Albers, Jack Bush, Helen Frankenthaler, Hans Hofmann, Robert Motherwell, Kenneth Noland, Larry Poons, Susan Roth, Kurt Schwitters, and Frank Stella, among others. The gallery has been doing interesting thematic shows for some time—everything from works of art given by artists to their friends and colleagues to prints by painters who devoted a good deal of time to exploring other media. This exhibition takes as its point of departure a poem written by then twelve-year-old Zoe Kusyk, a student in Charlottesville, Virginia, a 2016 winner of “Writer’s Eye,” an annual competition held by the Fralin Museum of the University of Virginia that “challenges writers of all ages to create original works of poetry and prose inspired by works of art on display in the Museum.” Ms. Kusyk’s winning poem, titled “Colors,” was a response to a 1977 painting by Larry Poons, a cascade of liquid hues pulled by gravity into parallel but active rivulets, now remaining distinct, now mingling.
A singularly inventive group show at FreedmanArt is “Colors” (through May 12). The idea for it was born when the gallery’s director, Ann Freedman, visited the Fralin Museum of Art at the University of Virginia in Charlottesville, VA last year, to see its exhibition devoted to Sam Kootz, the pioneering art dealer who early on represented Adolph Gottlieb, Motherwell & Hofmann, among others. While Freedman was there, her attention was drawn to a poem entitled “Colors” by a 12-year-old schoolgirl named Zoe Kusyk that had been inspired by a 1977 Larry Poons painting at the Fralin. The poem had won first prize in the annual competition inspired by the museum for works of prose or poetry inspired by works in the museum’s collection. The poem itemizes different colors but perfectly captures the way they all run together in the Poons painting and tells how the disparate but very human stories they tell also become one in the end.
COLORS, February 15 - August 17, 2018 at FreedmanArt, New York
FreedmanArt “Colors” brings together works of more than 25 artists under one roof at its New York venue through August 17, 2018 “Colors” features artwork by Josef Albers, Lee Bontecou, Jack Bush, Friedel Dzubas, Sam Francis, Helen Frankenthaler, Glenn Goldberg, Nancy Graves, Stephen Greene, Grace Hartigan, Hans Hofmann, Paul Jenkins, Alfred Leslie, Robert Motherwell, Kenneth Noland, Jules Olitski, Larry Poons, Susan Roth, Kurt Schwitters, David Smith, Theodoros Stamos, Frank Stella, Esteban Vicente, John Walker, Kit White, and Jack Youngerman.
All the artists are known for their inventive, expressive use of color, whether brilliant, raucous, or muted. It is a notably diverse group of works on paper, paintings, and collages by such luminaries as Josef Albers among others. FreedmanArt has been doing interesting thematic shows for some time — everything from works of art given by artists to their friends and colleagues to prints by painters who devoted a good deal of time to exploring other media.
"Colors" takes as its point of departure a poem written by then twelve-year-old Zoe Kusyk, a student in Charlottesville, Virginia, a 2016 winner of “Writer’s Eye,” an annual competition held by the Fralin Museum of the University of Virginia that “challenges writers of all ages to create original works of poetry and prose inspired by works of art on display in the Museum.” “Colors,” was a response to a 1977 painting by Larry Poons, a cascade of liquid hues pulled by gravity into parallel but active rivulets, now remaining distinct, now mingling. “Our commitment is to the artist, and to bringing art and collector together. FreedmanArt serves to educate the public with an active exhibition program, guided by invitational artist exhibitions and special project conceptions, both historical and new,” says the gallery.
The exhibition is on view through August 17, 2018, at FreedmanArt, 25 east 73rd street New York NY 10021.
blouinartinfo.com
FreedmanArt is very pleased to present "Colors," opening February 15, 2018. The exhibition will feature works by over twenty-five artists, including Josef Albers, Jack Bush, Sam Francis, Helen Frankenthaler, Hans Hofmann, Robert Motherwell, Kenneth Noland, Larry Poons, Kurt Schwitters, and Frank Stella, among others.
FreedmanArt is pleased to present an exhibition of three outstanding artists who brilliantly explored the expansive range of printmaking. The working engagement and spirit of collaboration in their printmaking fueled the creative genius within each of these artists.
Two-person collaborative exhibition with Frank Stella and Santiago Calatrava Neue Nationalgalerie Weblink Neue Nationalgalerie Video Link (DW-TV Arts 21, Summit Meeting)
Stella & Calatrava: The Michael Kohlhaas Curtain
A few blocks away, at FreedmanArt, “Carved, Cast, Crushed, Constructed” included an equally impressive group of intimately scaled sculptures by artists ranging from Joseph Cornell and David Smith to Lee Bontecou and Frank Stella, plus one “abstract” antique artifact, all assembled, like much of the Mnuchin exhibition, from private collections.
FreedmanArt is pleased to present Carved, Cast, Crushed, Constructed, an exhibition of a diverse group of artists seen through the lens of the many distinctive methods in the making of sculpture, from David Smith's 1943 marble Sewing Machine to Frank Stella's 2011 mixed media construction.This exhibition highlights a choice selection of three-dimentional work, by approximately fifteen artists, whose sculpture can be further appreciated by the use of their inventive, creative techniques and materials. The works on exhibition, with several significant loans, include Alexander Calder's 1948 Samba Rattle; to the age old lost wax process of Nancy Graves' poly-chromed sculpture; and to that of John Chamberlain's 1991 crushed and colored metal forms.
This month, when the Museum of Arts and Design in New York opens its show “Out of Hand: Materializing the Postdigital”—the first by a major museum to examine “the increasingly important role of digital fabrication in contemporary art, architecture and design practice”—among the more than 80 artists represented in it will be Frank Stella. It might seem strange to some that an artist who started out in the 1950s and had a retrospective at MoMA as early as 1970 would be making work with 3-D printing technology just like some straight-out-of-art-school kid, but to those familiar with Stella’s protean nature and taste for boundary-pushing, it makes complete sense. Having first attracted attention with flatter-than-flat hard-edged paintings, Stella has been steadily expanding into space ever since, beginning with low relief and collage and proceeding to curved canvases, paintings with projecting sculpture-like elements, and out-and-out sculpture—although Stella prefers to think of his free-standing works as paintings in three dimensions or “sculptural paintings,” rather than sculptures.
Three-dimensional printing enables artists to realise sculptures in previously impractical shapes and sizes. The technology creates 3-D objects from digital models by printing thousands of successive layers of material. The artist Frank Stella was an early adopter. In the mid-2000s, he used a 3-D printer to produce metal and resin segments for his spiraling polychrome sculpture series “Scarlatti Kirkpatrck”. The technology gave Stella “an opportunity to project work out from the wall in a way that would have been difficult, and too heavy, using traditional means”, says Ron Labaco, a curator at the Museum of Arts and Design in New York. He will include Stella’s work in an exhibition devoted to computer-enabled work, “Out of Hand: Materialising the Postdigital”, which is scheduled to open on 14 October.
Abstract Critical
by Sam Cornish
April 22, 2013
More collage! At Freedman Art in New York E.A Carmean, Jr has organised an exhibition of ‘painterly’ approaches to the medium (is collage a ‘medium’? – perhaps a technique, or an attitude?). Amongst the artists included are Willem de Kooning, Helen Frankenthaler, Ellsworth Kelly, Franz Kline, Al Leslie, Robert Motherwell, Anne Ryan, Kurt Schwitters, Frank Stella, Jack Youngerman, Susan Roth, Esteban Vicente and Adja Junkers.
The Independent, UK
by Michael Glover
April 12, 2013
Is it a crooning junkyard angel of the kind that Bob Dylan once praised in "From a Buick 6"? The mood of this bruising sculpture by Frank Stella is one of explosive visual excess, from its bucking, roller-coasterish shapeliness to its blaring, fruity tones.
On view through May 31, “Painterly Pasted Pictures” at FreedmanArt in New York is a small but smart exhibition that brings together a group of collages from the 20th century united by the stylistic trait of “painterliness.” Popularized by Swiss art historian Heinrich Wolfflin, painterliness describes paintings that are loosely and openly styled, with emphasis placed on visible brushstrokes and the application of paint rather than on the sharp delineation of forms and objects. Featuring rare collages from Willem de Kooning, Helen Frankenthaler, Franz Kline, Alfred Leslie, Robert Motherwell, Anne Ryan, Kurt Schwitters, Jack Youngerman, Frank Stella, and Ellsworth Kelly, among others, the show has been carefully selected to demonstrate different manifestations of painterliness in the collage form.
On view through May 31, “Painterly Pasted Pictures” at FreedmanArt in New York is a small but smart exhibition that brings together a group of collages from the 20th century united by the stylistic trait of “painterliness.” Popularized by Swiss art historian Heinrich Wolfflin, painterliness describes paintings that are loosely and openly styled, with emphasis placed on visible brushstrokes and the application of paint rather than on the sharp delineation of forms and objects. Featuring rare collages from Willem de Kooning, Helen Frankenthaler, Franz Kline, Alfred Leslie, Robert Motherwell, Anne Ryan, Kurt Schwitters, Jack Youngerman, Frank Stella, and Ellsworth Kelly, among others, the show has been carefully selected to demonstrate different manifestations of painterliness in the collage form.
The exhibition entitled Painterly Pasted Pictures at the FreedmanArt Gallery brings together a group of collages that share the formal trait of "painterliness," either in part or whole. This stylistic characteristic, the opposite of crisp (cut) profiles and simple, balanced compositional layouts, is one not usually associated with the standard idea of the modern collage. But, "painterliness" is nonetheless an essential feature of many collages made by the Abstract Expressionists, including their works featured in this show.
Kunstmuseum Wolfsburg
September 8, 2012 - January 20, 2013
Frank Stella (born 1936) is one of the last living heroes of American painting from the 1950s and 1960s. Stella’s recent works demonstrate yet again his compelling path in the direction of abstraction. Hardly twenty-years old, the young artist conquered the New York art scene in the late 1950s with a sensation: His large Black Paintings not only intensified the debate on Minimalism in painting but also prepared the way for the “exit from the picture into space.” But unlike his contemporaries, Stella took a completely independent path that led him to ever more opulent, ever more baroque reliefs. With his turn “from Minimalism to Maximalism,” Frank Stella developed into one of the most distinctive artists of the 20th century. Featuring circa 60 mostly large-format works as well as 30 drawings and sketches, the Kunstmuseum Wolfsburg is honoring Frank Stella with a comprehensive exhibition that makes up the capstone to the wide range of presentations celebrating the artist’s 75th birthday.
The New York Times
by Roberta Smith
July 5, 2012
It takes awhile to appreciate the sheer formal intelligence of Frank Stella’s hyperactive polychrome wall pieces. Their spiraling forms, shot through with hairpin and curving rods of thin painted tubing, are inspired by the pell-mell music of Scarlatti and the crisp complexities of late Kandinsky. If you look closely, many of them feature ribbons of color that twist and ripple outward from one or two central points: configurations that might almost have been lifted from earlier Stella stripe paintings, unleashed into three dimensions.