George Ortman, Constructions: 1949 – 2011, Algus Greenspon Gallery, New York, NY

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George Ortman’s painted constructions of the 1950s and early 1960s are pioneering works. Their reductive geometry and modular color were widely seen as being at the forefront of young artists move away from abstract expressionism.

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Eye to Eye: Joseph Marioni at the Phillips, The Phillips Collection, Washington, DC

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Organized as part of The Phillips Collection’s 90th anniversary, Eye to Eye features a group of paintings by modern American artist Joseph Marioni in the context of the museum permanent collection.

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Georges Braque: Pioneer of Modernism, Acquavella, New York, NY

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Acquavella Galleries is pleased to announce Georges Braque: Pioneer of Modernism, a retrospective of seminal paintings curated by Dieter Buchhart. The exhibition will include over forty major paintings and papiers collés by the artist, all on loan from prestigious international public and private collections.

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Making Histories: Changing Views of the Collection, Temporary Stedelijk 2, Stedelijk Museum Amsterdam, The Netherlands

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Installation view. Opens March 3, 2011 Making Histories: Changing Views of the Collection explores how a museum collection constructs and embodies histories to be reconsidered over time, offering various views into the museum’s own history and its collections right up to the present day, through monographic installations of individual works or bodies of work by key artists and designers, thematic surveys, archival research projects, special projects and recent acquisitions. The exhibition showcases the breadth of […]

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Matisse: Radical Invention, 1913–1917, Museum of Modern Art, New York, NY

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Henri Matisse painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of Photography and Film, Rochester July 18 – October 11, 2010 In the time between Henri Matisse’s (1869–1954) return from Morocco in 1913 and his departure for Nice in 1917, the artist produced some of the most demanding, experimental, and enigmatic works of his career—paintings that are abstracted and rigorously purged of descriptive […]

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Formal 2010: Jose Heerkens & Cecilia Vissers, Waterland Museum, Purmerend, The Netherlands

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(left) Cecilia Vissers, Blacksod Bay, 2010 Steel, 2 x 95 x 93 x 0.8 cm (photo Peter Cox) (right) Jose Heerkens, Written Colours II, 2010 Oil paint on linen, 150 x 200 cm (photo Willem Kuijpers) May 20 – July 25, 2010 As in previous years, the Waterland Museum is organising an exhibition on current forms of concrete art. This time we present works by two female artists, both of whom have a strong affinity […]

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Ernst Wilhelm Nay: Works from the 1960s, Schirn Kunsthalle Frankfurt, Frankfurt, Germany

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  Ernst Wilhelm Nay, Sinus, 1966 Oil on canvas, 162 x 150 cm Private Collection January 22 – April 26, 2009 Ernst Wilhelm Nay is one of the most renowned German postwar artists. His abstract paintings are to be found in nearly all important public and private collections with works from that era. Nay’s late work of the 1960s, dating mainly from the years after the artist’s participation in the Documenta III in 1964 to his death in […]

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Sydney Ball: In Light of Colour, Sullivan+Strumpf, Sydney, Australia

  September 9-28, 2008 In 2007 Sydney Ball revisited the direct pictorial architecture of his Canto paintings to develop Structures 2, a series of radiant abstract colour works. The modernist architecture of Mies Van Der Rohe and Zaha Hadid – and their open-ended, problem-solving approach to refined ‘architectonic form’ – provided a framework that resonated with Ball’s artistic practice.  As a young man, Ball worked as an architectural draughtsman before moving to New York in […]

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Interview with Linda Francis, by Matthew Deleget

The following interview was published on MINUS SPACE in December 2004 in conjunction with Linda Francis’ spotlight exhibition.   Matthew Deleget: I would like to begin our interview with a brief discussion of your background. You were born and raised in New York City (The Bronx). What was you first contact with the arts? Was visual art something that was understood and supported?   Linda Francis: At the time, one could get a decent education […]

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