Displaying items by tag: richard diebenkorn

Christopher Bedford, Henry and Lois Foster Director of the Rose Art Museum at Brandeis University, has announced that Baltimore businessman, author, and collector Stephen M. Salny has made a promised gift to the museum of 48 works on paper created by some of today’s leading contemporary artists, including 11 lithographs by Ellsworth Kelly. Among the other artists represented in the gift are Josef Albers, Richard Diebenkorn, Helen Frankenthaler, Damien Hirst, Jasper Johns, Sol Lewitt, Brice Marden, Robert Motherwell, and Sean Scully.

Salny’s gift will augment strengths of the Rose Art Museum collection, which includes paintings and other works by some of the artists included, notably Kelly, Johns, Motherwell, and Frankenthaler, while also extending its holdings in new directions, including the first work by Hirst to by acquired by the museum.

It’s a tidy fantasy that artists birth masterworks in a single assured gesture. It’s equally illusory to think that there are fixed ways for a museum to present an artist’s output. Three thematically related fall exhibitions at the Cantor Art Center explore the various spheres of influence and process in order to illuminate the complexities of making and appreciating art. “Edward Hopper: New York Corner,” “Richard Diebenkorn: The Sketchbooks Revealed,” and “Artists at Work” are autonomous shows that together open up inspiring new angles from which to view familiar artists.

Bay Area artist Richard Diebenkorn kept sketchbooks for his entire career; they served as a sort of nomadic studio where he experimented with visuals that bridged figurative and abstract ideas. Recently the Cantor Arts Center at Stanford University acquired 29 of Diebenkorn’s sketchbooks, and this September they’re going on view to the public for the first time in Richard Diebenkorn: The Sketchbooks Revealed.

“The books are filled with stunningly gestural sketches of bits and pieces of daily life, both mundane capturing of everyday things, and powerful vignettes of intimate family moments,” Alison Gass, the Cantor’s associate director for collections, exhibitions, and curatorial affairs, told Hyperallergic.

The San Jose Museum of Art has received a major gift of 44 works of art from the collection of Barbara and Dixon Farley. Among the highlights are works by Jay DeFeo, Willem de Kooning, Richard Diebenkorn, Philip Guston, Henry Moore, Claes Oldenburg, Gay Outlaw, Richard Serra, James Siena, David Simpson, Richard Shaw, and Peter Wegner. This latest group of works joins the Farley’s earlier gift of 29 works given to the Museum following Mr. Farley’s death in 2012. SJMA will showcase the Farley’s gift in a fall 2015 exhibition.

“The Farleys built their collection with deep passion, independence, and a keen eye for abstraction. Their art filled their home and their life—as did their commitment to supporting the work of living artists,” said Susan Krane, Oshman Executive Director of SJMA.

London’s Royal Academy of Arts announced that it will present the first survey of California modernist Richard Diebenkorn’s figurative and abstract works to a UK audience in nearly twenty-five years. Diebenkorn, who rose to fame as the west coast ambassador of Abstract Expressionism, and later, helped establish the Bay Area Figurative movement, oscillated between abstract and representational painting during his sixty-plus-year career. Today, he is widely recognized as one of the most influential American artists of the post-war era. 

“Richard Diebenkorn” explores the three distinct phases of Diebenkorn’s career, beginning in the early 1950s, when Abstract Expressionism was gaining traction in New York.

Katya Kazakina puts a lot of guess work together to postulate what might have happened in the private sale of three of Bunny Mellon’s paintings, two of the nine Rothkos the Mellons once owned and a Richard Diebenkorn. The Rothkos were the monumental 10 x 15 foot No. 20 (Yellow Expanse) which the late David Anfam described as the “the jewel in the crown.” The 1953 painting was casually valued at $125m as early as 2010. The conjecture that the group were sold for $300m—and that’s just conjecture as you will see below—would suggest that No. 20 was sold for $200m or more:

Alexander Forger, the executor of Mellon’s estate, confirmed in a telephone interview that three paintings had been sold. He declined to identify the paintings, the price or buyer’s identity, citing confidentiality agreements.

From September 10-18, Christie’s auction house will host a pop-up exhibition of post-war and contemporary art in downtown Los Altos -- an affluent community in California’s booming Silicon Valley. Passerelle, a local real estate and urban planning firm, helped organize the show, which will present major works by Roy Lichtenstein, Jasper Johns, Richard Diebenkorn, and Tracey Emin as well as cutting-edge contemporary art. The exhibition will include works available for private sale as well as highlights from the upcoming fall auctions in New York.

A panel discussion titled “StART Up: Beginning (and Growing) Your Art Collection” will be held on September 13.

The Cantor Center for Visual Arts at Stanford University announced that it has received three significant gifts from separate donors. The bequests greatly increase the museum’s holdings of works by the postwar artist Richard Diebenkorn, Pop art pioneer Andy Warhol, and the African-American painter Jacob Lawrence. The Cantor Center, which opened in 1894, houses one of the largest collections of Auguste Rodin sculptures in the world. The institution also has a sizeable collection of postwar American art.

Phyllis Diebenkorn, a Stanford alumna, donated 26 of her late husband’s sketchbooks, which contain well over 1,000 drawings, to the museum. The sketches, which span Diebenkorn’s long and varied career, will be converted into digital scans, making them readily accessible to students and scholars.

A new exhibition at the Princeton University Art Museum in New Jersey charts the developments in abstract painting that took place between 1950 and 1990. The show examines how postwar artists such as Josef Albers, Willem de Kooning, Richard Diebenkorn, Jean Dubuffet, Helen Frankenthaler, Hans Hofmann, Franz Kline, Morris Louis, Robert Motherwell, Robert Rauschenberg, Gerhard Richter, Mark Rothko, and Frank Stella ushered in advancements in abstraction thanks to their individual approaches to line, color, and form.

“Rothko to Richter: Mark-Making in Abstract Painting” presents nearly thirty paintings on loan from the collection of Preston H. Haskell III, a Princeton University alumnus and a longstanding Museum benefactor. The exhibition touches on a number of monumental movements, including Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism.