Displaying items by tag: lee krasner

The estate of Jackson Pollock’s lover, the artist Ruth Kligman, has renewed efforts to authenticate and sell a painting in its possession that it believes is a genuine creation of the late, great abstract painter. Armed with new forensic research, trustees have started showing the work to invited curators, collectors, scholars and artists.

The first major museum survey dedicated to scenes of night in American art from 1860 to 1960—from the introduction of electricity to the dawn of the Space Age—opens at the Bowdoin College Museum of Art (BCMA) this June. "Night Vision: Nocturnes in American Art" explores the critical importance of nocturnal imagery in the development of modern art by bringing together 90 works in a range of media—including paintings, prints, drawings, photographs, and sculptures—created by such leading American artists as Ansel Adams, Charles Burchfield, Winslow Homer, Lee Krasner, Georgia O’Keeffe, Albert Ryder, John Sloan, Edward Steichen, and Andrew Wyeth, among others.

An installation of several paintings by Hans Hofmann, one of the most influential painters of the 20th century, is now on view at The Metropolitan Museum of Art. Drawn from the Museum’s substantial holdings of the artist’s work, "Hans Hofmann: Selected Paintings" commemorates the recent publication of the Hans Hofmann Catalogue Raisonné of Paintings, a comprehensive three-volume compendium.

Known as one of the abstract painters of the New York School, Hofmann (American, 1880-1966) shaped three generations of artists, first in Europe and later in the United States. The list of his illustrious students includes Joan Mitchell, Lee Krasner, Larry Rivers, Allan Kaprow, and Marisol (whose large installation "Self-Portrait Looking at The Last Supper" is on view at the Met through April 5, 2015 in Gallery 909).

Barbara Babcock Millhouse has given a painting by one of American art’s most distinguished abstract expressionist artists to Reynolda House Museum of American Art.

Allison Perkins, museum executive director, revealed “Birth,” a large-scale oil painting by Lee Krasner to an audience of more than 300 at the museum’s annual black-tie fundraising gala on Friday night.

The painting is on view in the museum’s exhibition “Love and Loss." The show examines the power of art to transform individual loss into expressions of shared experience.

Critics think they have the last word, but sometimes art keeps talking. In 2008, while organizing the Jewish Museum’s boisterous survey of Abstract Expressionism, “Action/Abstraction: Pollock, de Kooning and American Art, 1940-1976,” the curator, Norman L. Kleeblatt, noticed that two paintings — Lee Krasner’s “Untitled” (1948) and Norman Lewis’s “Twilight Sounds” (1947) — seemed to be speaking to each other. He had the good sense to listen and, later, to orchestrate a deeper conversation. The result is “From the Margins: Lee Krasner and Norman Lewis, 1945-1952,” a nuanced, sensitive and profound exhibition.

The show isn’t really a dialogue, in the conventional sense. But it bravely elides differences of gender, race and religion, finding that Krasner and Lewis — a Jewish woman and an African-American man — shared a visual language that was a subtler, more intimate dialect of Abstract Expressionism.

 The Hamptons region of Long Island, New York, has long been a popular destination for the stylish, wealthy, and influential. Thanks to its astonishing natural beauty, it has also been a popular retreat for creative types, including pioneering artists like Jackson Pollock, Lee Krasner, and Willem de Kooning. A new book by architectural publisher and art critic Anthony Iannacci showcases nineteen private houses in the fabled enclave, giving readers an unprecedented glimpse of some of the most beautiful architecture, interiors, and gardens in the country.

“Design in the Hamptons” features works by celebrated designers, including Jonathan Adler, Simon Doonan, John Barman, Fox-Nahem, Thad Hayes, Tony Ingrao, Todd Merrill, Roman & Williams, and Joe d’Urso.

Jackson Pollock’s mistress Ruth Kligman said she watched him paint it, as a love token, just before his fatal 1956 car crash. But the Pollock-Krasner Authentication Board, whose members were close with Pollock’s wife, Lee Krasner, have questioned its authenticity. Pollock, Kligman, and Krasner are all now dead, but as Red, Black & Silver heads to auction, on the 100th anniversary of Pollock’s birth, Lesley M. M. Blume chronicles the dramatic ongoing battle over what may have been an American master’s last canvas.

The imagery on the canvas is relatively spare: a black oblong shape resides at the picture’s center, encircled by a loose knot of swirling red lines. It’s a small painting, just 24 by 20 inches. There is nothing to indicate that this unassuming, unsigned work has been the subject of an explosive, decades-long battle, a saga that has drawn in some of America’s best-known artists and the power brokers of the art world.