Carved, Cast, Crushed, Constructed

FreedmanArt

March 8, 2014

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.

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Report from the Front: 3 Times & Places

(An Appropriate Distance) from the Mayor’s Doorstep
by Piri Halasz

November 30, 2013

Finally, for those who just like fine painting, and don’t feel the need to stay up on the latest wrinkles, I can strongly recommend “Jules Olitski on an Intimate Scale…and Friends” at Freedman Art. This exhibition of small works by Olitski from 1961 through to 2007 (the year he died) is a version of the exhibition at George Washington University in Washington DC that I warmly reviewed last year, and that I am equally delighted to welcome to the Big Apple.

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"Jules Olitski On an Intimate Scale... and Friends" opens at FreedmanArt in New York

ArtDaily.org

October 24, 2013

NEW YORK, NY.- FreedmanArt presents “Jules Olitski On An Intimate Scale… and Friends.” This exhibition opens Thursday, October 24. The more than thirty works in this exhibition present a retrospective overview of Olitski’s paintings through the artist’s distinctive periods: “Core/Stain” paintings; “Sprays”; “Baroque”; “High Baroque”; and the “Late” paintings. This exhibition demonstrates the immediacy of Olitski’s intimate and small-scale paintings.

Jules Olitski on an Intimate Scale... and Friends

FreedmanArt

October 24, 2013

FreedmanArt is pleased to present "Jules Olitski On An Intimate Scale… and Friends," opening October 24. The more than thirty works in this exhibition present a retrospective overview of Jules Olitski’s paintings through five decades. With the addition of “friends,” we are presenting works of those artists who have enjoyed artistic camaraderie and friendship with Jules Olitski, including works by Anthony Caro, Helen Frankenthaler, Hans Hofmann, Larry Poons, and David Smith. "Jules Olitski On An Intimate Scale… and Friends" is adapted from an exhibition organized by The George Washington University Luther W. Brady Art Gallery in fall of 2012 and traveled to the Reading Public Museum in Reading, Pennsylvania in spring of 2013.

Working in Space

Art & Antiques Magazine
by John Dorfman

October 1, 2013

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.

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Report from the Front: Olitski in Midtown

(An Appropriate Distance) From the Mayor’s Doorstep
by Piri Halasz

August 25, 2013

During these last few days in August, we have been having idyllic weather in the Big Apple, so, if you're not at the seashore or in Paris, here's an elegant small installation in midtown to go and see. It's “Jules Olitski: Tower 49, NYC,” which was curated by Lauren Olitski Poster and mounted back in May in the lobby and entrance plaza of the 45-story steel and green glass office skyscraper known as “Tower 49.” The building’s official address is 12 East 49th Street, but it can also be entered from 48th Street, and occupies a considerable portion of the east-west block between Madison and Fifth Avenues.

Jules Olitski at Tower 49

The Wall Street Journal
by Peter Plagens

August 17, 2013

These days, in a 21st-century art world that seems as different from the formalist passions of 40 or 50 years ago as Dada was from court painting patronized by the Habsburgs, Mr. Olitski's work has assumed the status of stately, historical objects. This is pleasantly evident in the yearlong installation of eight large paintings and an Anthony Caro-esque sculpture in the lobby of a Midtown skyscraper called Tower 49.

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Art Enters the Third Dimension

The Art Newspaper
by Julia Halperin

July 23, 2013

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.

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Radiance + Reflection: Stain Paintings & Drawings 1960 - 1964

Yares Art Projects

July 5, 2013

Yares Art Projects presents paintings and drawings from American abstract painter, printmaker, and sculptor Jules Olitski; many of which have never been publicly shown before. From 1960 through 1964, Olitski created many of his paintings by staining: pouring acrylic paint onto raw (unprimed or unprepared) canvas so that it soaked directly into the cloth. This exhibition features a selection of works from this period, known as the "Stain" paintings.

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New Exploration in a Universe of Color

The Wall Street Journal
by Vibhuti Patel

May 28, 2013

Natvar Bhavsar uses dry pigment to create large, brilliantly colored, mural-like paintings. Critics often place the Indian-born artist in the context of the genesis of abstract art in America, comparing him with Abstract Expressionists and "color-field" painters like Mark Rothko and Barnett Newman. But Mr. Bhavsar's method of building up surfaces through layers of dry pigment is his own. Though he harks back to India's classical music and ancient aesthetics, Sanskrit literature and subcontinental seasons as sources of inspiration or fodder for his titles, his approach is modern American, not ethnic Indian.

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Painterly Pasted Pictures

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.

4 Definite Plusses

(An Appropriate Distance) From the Mayor’s Doorstep
by Piri Halasz

April 15, 2013

Not all the Manhattan gallery shows worthy of discussion are in Chelsea, SoHo or the Lower East Side. There are still hardy survivors in midtown and on the Upper East Side, and four exhibitions in particular have provided enjoyment for me as winter—at long last—is giving way to spring. Three of them are – or were – at Spanierman, which has been claiming so much of my attention in the last year or so that some readers may be getting suspicious—but really, there is nothing to be suspicious about. The gallery simply seems to be displaying better taste than almost every other.

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"Painterly Pasted Pictures" at FreedmanArt

The New Criterion
by Brendan Dooley

April 9, 2013

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.

"Painterly Pasted Pictures" at FreedmanArt

The New Criterion
by Brendan Dooley

April 9, 2013

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.

Lee Bontecou: Drawn Worlds

The Menil Collection
A Retrospective of Drawings by Lee Bontecou, January 31 - May 11, 2014

March 14, 2013

"Lee Bontecou: Drawn Worlds" is the first retrospective exhibition of the drawings of American artist Lee Bontecou. Born in 1931, the works selected span more than five decades of Bontecou’s career, from the late 1950s, when she began her innovative works on paper with welding torch and soot as a drawing tool and medium while studying in Rome as a Fulbright Scholar, to the work that is ongoing in her Pennsylvania studio. Like her sculptures, which are made primarily of welded steel, canvas, porcelain, and vacuum-formed plastic, her drawings highlight the ingenuity and bravura of her experiments with materials and ways of creating and making spatial form. “Lee Bontecou: Drawn Worlds,” is curated by Michelle White for The Menil Collection, and will be accompanied by an illustrated catalogue with new scholarly texts. The exhibition will travel to The Princeton University Art Museum, Princeton, New Jersey, in late spring of 2014.

Painterly Pasted Pictures: Braque and Arp to Stella and Kelly

FreedmanArt
by E.A. Carmean, Jr.

February 21, 2013

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.

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