Hudson Review

At the Galleries

April 28, 2018 - By Karen Wilkin

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.

Review: "Colors" at FreedmanArt

(An Appropriate Distance) From the Mayor’s Doorstep

By Piri Halasz, April 1, 2018

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.

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Blouin ArtInfo: "Colors" at FreedmanArt, New York

COLORS, February 15 - August 17, 2018 at FreedmanArt, New York

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

Press Release: COLORS

FreedmanArt

Opening Thursday February 15, 2018

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.

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Kit White at Freedman Art and the Institute of Fine Arts (NYU)

Arte Fuse
by Jonathan Goodman

June 15, 2017

Kit White, a painter of indisputably lyric accomplishment, is currently showing at two venues: FreedmanArt and the Institute of Fine Arts. Kit White, a painter of indisputably lyric accomplishment, is currently showing at two venues: FreedmanArt and the Institute of Fine Arts. White, now a mature artist is a long resident of New York City, where he has practiced a distinctive form of poetic suggestion, in which rickety, skeletal structures occupy the center of the composition, whose surrounds indicate a lonely landscape. Interestingly, though, his efforts do not necessarily derive from the New York School—even though White showed twice with Betty Parsons, a major gallerist of the movement, in the late 1970s. Certainly, he recognizes the fact that the abstract artists working shortly before him filled their paintings with inchoate, nonobjective form, intending to portray the strong emotion resulting from that form. But White is looking not so much for an expressionist intensity as he is interested in communicating a view that derives from a philosophical outlook and earlier history. A reader of contemporary poetry as well as a former student of Latin and Greek, White recognizes a time when culture was slower—a time when the act of painting was mediated by a knowledge of what preceded it, and when poetry was actually read.

Kit White: The Nature of this Place

FreedmanArt
Press Release

Opening Tuesday March 21, 2017

FreedmanArt is pleased to present The Nature of This Place, an exhibition of paintings by Kit White, opening Tuesday, March 21, 2017. From 5:30pm to 7:30pm, FreedmanArt will host a reception and a book signing with the artist to celebrate the release of the new monograph by Carter Ratcliff, Kit White: Line Into Form.

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Social (& Esthetic) Notes from all Over

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

October 26, 2016

This jewel of an exhibition features 34 mostly small works that were given by the artists who created them to friends—fellow artists, dealers, collectors, curators and critics. Most of the entries on the checklist list the owners demurely as “private collection,” but some of the inscriptions are more revealing. Thus we have a colored postcard with a Kenneth Noland target image, cleverly decorated with verticals on either side of the target to suggest (to my twisted mind, at least) the impression of a place setting, with fork, plate and knife.

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Glenn Goldberg: Of Leaves and Clouds

FreedmanArt

Opening Saturday, March 5, 2016

FreedmanArt is pleased to present "Of Leaves and Clouds," an invitational exhibition featuring paintings, works on paper, and collages by the New York artist Glenn Goldberg, opening Saturday, March 5, 2016, with a reception for the artist from 5:30pm-8:00pm. The subject, "Of Leaves and Clouds," will include themes present throughout decades of Goldberg’s work.

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An Adventure that is always changing: Glenn Goldberg in conversation with ArtFile Magazine's Johnny Thornton

Artfile Magazine
by Johnny Thornton

March 2016

“...The idea of making a painting that is quiet, at times a bit complicated and stirred, yet ordered and dreamy is at the center of these works. They are airy and do not assert themselves as matter. For the most part, they tend to exist in the sky or in the water. They incorporate aspects of the decorative arts and are concerned with both what a painting can be and what painting already is. I am lost inside of them. They include questions and have their own demands. They always want to be more than they are. It is difficult to be legible, challenging to be generous, and an effort to push through a variety of obstacles in order to give fully to them.”

Gifts, loans combine to place pivotal art movement in spotlight at Nelson-Atkins

Make Room for Color Field at the Nelson-Atkins Museum of Art in Kansas City

ArtDaily

December 12, 2015

A single act of generosity by a collector and supporter of The Nelson-Atkins Museum of Art in Kansas City has resulted in the gifting of five more works of art, a handful of loans, and an installation celebrating Color Field painting. Luther W. Brady, M.D., one of the world’s foremost oncologists, gifted the museum with Jules Olitski’s Embraced: Yellow and Black, in the memory of his dear friend Joanne Lyon, a longtime supporter of the Nelson-Atkins. Inspired by that gift, an anonymous donor loaned the Nelson-Atkins Helen Frankenthaler’s Elberta, another quintessential example of Color Field painting. Then Kristina Olitski gave the Nelson-Atkins four Jules Olitski prints to complement one already owned by the museum, thereby creating a complete set. The recent acquisitions, not including the Olitski prints, will be celebrated in the installation Make Room for Color Field, which opened Dec. 11.

Making Art, and Making it Well: Two Recent Group Shows

ArtCritical.com
by David Carrier

April 3, 2015

Some finished works of art efface evidence of the process of their own making. A painting by Jean-Auguste-Dominique Ingres or Philip Pearlstein doesn’t reveal how it was made — in that way, it is like a photograph. There is, by contrast, a special fascination in art which, by revealing the activity of its own making, makes that process part of its meaning. Such art, it might be said, is the most aesthetic visual art — it is doubly art because we both identify its abstract or figurative subject and enjoy seeing how that subject was rendered. We find this happening with Abstract Expressionism, as represented at FreedmanArt’s “Art in the Making,” by marvelous signature style works by Adolph Gottlieb, Philip Guston, Hans Hofmann, Franz Kline, among others, and by artworks from artists of succeeding generations who extended that tradition.

New Exhibition: "Art in the Making" opening Thursday, October 30

FreedmanArt

Opening Thursday, October 30
Reception from 6-8:30pm

FreedmanArt is pleased to present Art in the Making; an exhibition honoring art, the history of whose making is part of its meaning, with over twenty artists included. Art in the Making opens Thursday, October 30. In a time of constant change and advances in the methods of “making,” this exhibition hopes to provide a lens into time-honored art institutions, as triggered by the overlapping of the 50th anniversary of the New York Studio School of Drawing, Painting & Sculpture, and the 140th anniversary of The Art Students League of New York. This brings us to appreciate original and early approaches to teaching, learning, and making; as relevant today as in decades and centuries gone by.

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Arts Review: At the Galleries

The Hudson Review
by Karen Wilkin

August 27, 2014

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.