Antoine Helwaser Gallery is pleased to announce a group exhibition of key New York modern artists in Vivid Color, Striking Form, December 5 - 10 2017, Booth A515.
Ten artists will be featured in the presentation: Jean Dubuffet, Adolph Gottlieb, Helen Frankenthaler, Sam Francis, John Grillo, Sol Lewitt, Alex Katz, Roy Lichtenstein, Ed Ruscha. Two earlier works by Yayoi Kusama from her Infinity Nets series will also be presented.
The exhibition brings together pioneering artists that broke new ground in the New York art scene and who redefined color and line in the twentieth century. Dealing with both abstract and figurative art, the Art Miami presentation emphasizes the creation of a distinct visual language, expression and emotion, and approaches to form itself. From Kusama’s infinite repetition of radiating brush-strokes to Sol Lewitt’s meandering lines, these artists lay stress on formal elements which gave meaning to their art.
FOR IMMEDIATE RELEASE
The presentation highlights the gallery’s focus on post-war and contemporary art from New York, and dedicates its showcase to key artists who have shaped the canon of modern art history. Bridging multiple generations and movements, the exhibition features a special section on Abstract Expressionist artists besides emblematic pieces by Alex Katz and Jean Dubuffet.
On view is Adolph Gottlieb’s Asterisk on Brown (1967), comprised of simple shapes on a brown background. The work exemplifies the artist’s focus on timeless, “truthful” art, evoking his quest for simple shapes, colors and forms aimed at reaching the viewer’s subconscious.
Markedly different from Gottlieb and the first-generation of Abstract Expressionist painters, Helen Frankenthaler’s Color Field painting places emphasis on gestural brushstrokes and techniques, rather than mythic or symbolist tendencies. Aqueduct (1987) frames bold strokes of pink, black and green hues of oil paint against each other, characterizing Frankenthaler’s painterly technique.
Sam Francis’s large-scale work on paper, Untitled (1965), highlights the work of the post-war artist known for his large canvases with expressive, vibrant brushwork. The gestural brushwork, and use of expansive space across the canvas illustrate Francis’s inclination towards New York Abstract Expressionism as well as the influences of Chinese and Japanese art.
The presentation will also delve into the work of later post-war New York artist, Alex Katz, whose body of work deals with formal concerns of the human figure. Red Hat (Nicole) (2013) from the Red Hat series, depicts an imposing figure portrait flattened into simple and colorful shapes. The striking contrast of tones between the pale color of his subject’s skin, and the vibrant red hat conveys the artist‘s minimal and Pop aesthetic.
Two earlier works by Yayoi Kusama, part of Kusama’s seminal “Infinity Nets” series, will also be on show, Nets 45 (1998) and Oil No. 7 (1997). The intensity of the crescent-shaped impasto repeated all over the canvas are an homage to Kusama’s stress on color and her willful, compulsive and dizzying repetitions. Color and line take on a different approach with minimalist and conceptual artist Sol Lewitt—in his work Untitled (Gray, White and Black Wavy Lines) (2004), showing a clean, almost clinical approach to formal concerns.
Other artists on view include Ed Ruscha and Roy Lichtenstein. Their works also explore ideas of color and form, highlighting the approaches that these seminal artists took.
An exceptional piece from Jean Dubuffet, Portrait d’Homme (1958), will also be on show at the exhibition. With a fragmented, black and white face, Dubuffet depicts a childlike, almost naive figure composed out of torn pieces of paper. Capable of being both abstract and figurative at the same time, the work showcases Dubuffet’s spirit of originality. A large influence on many of New York’s avant-gardes, the work provides a closing point to the exhibition and acknowledges the reactionary nature of many of the modern art movements that arose in the post-war era.
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