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Displaying items by tag: abstract expressionism

Storm King Art Center, a sprawling sculpture park in New Windsor, New York, has acquired three contemporary works through major long-term loans. The sculptures include “Source” (1967) by American minimalist Tony Scott, “Royal Tide 1” (1960) by monochromatic master Louise Nevelson, and “Broken Obelisk” (1967) by Abstract Expressionist Barnett Newman.

Guests who enter through the Center’s Museum Hill entrance are greeted by “Source,” Smith’s monumental black painted-steel sculpture. First exhibited at Documenta IV in Kassel, Germany, in 1968, “Source” is among Smith’s most dynamic large-scale sculptures and exemplifies the painted black outdoor works for which he is best known.

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A convicted tax evader and trout poacher from San Francisco has been charged with mail fraud for allegedly falsely claiming that he had $11 million to buy artwork.

Luke Brugnara, 50, was named in a complaint unsealed Wednesday in U.S. District Court in San Francisco. Federal prosecutors accused him of taking delivery of the art and then refusing to pay for the pieces or return them.

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Bringing together a group of eight paintings and works on paper from the Saint Louis Art Museum and Switzerland's Beyeler Foundation, this exhibition showcases the entire oeuvre of Mark Rothko and celebrates the diversity of nearly 30 years of artistic output from this crucial figure in the American Abstract Expressionist movement.

The exhibition includes early Surrealist imagery by Rothko while Untitled, 1948 is emblematic of the artist's abstractions, known as "multiforms". Painted in a range of blue, yellow, orange and white shapes against a salmon-colored background, this work's importance is heightened since it is the last image that Rothko signed on the front of the canvas. The artist famously affirmed that his paintings should be "tragic and timeless"— an observation that inspired the exhibition title.

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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.

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 In the 1960s, the Abstract Expressionist painter Mark Rothko was commissioned by Harvard University to create a series of murals. Completed in 1962, the large panels were displayed in the University’s Holyoke Center (now the Smith Campus Center), which boasts floor-to-ceiling windows, from 1964 to 1979. Over time, the constant exposure to natural light caused the murals to fade and the once-vibrant paintings were relegated to storage, where they remained until now.

The Harvard Art Museums, which will reopen on November 16 following a major renovation, have devised a revolutionary technique to restore the murals to their original richness. The process, which was developed over several years by a team of conservators, curators, and scientists from Harvard, the Massachusetts Institute of Technology Media Lab, and the University of Basel in Switzerland, involves digitally projecting specially calibrated light to correct the murals’ devastating color loss. The works will be unveiled to the public in the exhibition “Mark Rothko’s Harvard Murals.”

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The Metropolitan Museum of Art in New York has announced plans for a major renovation of its Lila Acheson Wallace Wing. Completed in 1987, the Wing houses the museum’s Modern and contemporary collection, which includes works by the circle of early American modernists around Alfred Stieglitz, including Arthur Dove, Marsden Hartley, Georgia O'Keeffe, and John Marin; large-scale paintings by Abstract Expressionists, such as Willem de Kooning, Jackson Pollock, and Mark Rothko; and modern design, from Josef Hoffmann and members of the Wiener Werkstätte to Art Nouveau jewelry by René Lalique.

The Met, which is the largest art museum in the United States, is in the midst of re-evaluating its layout, and addressing the Lila Acheson Wallace Wing’s shortcomings is a top priority. As it stands, the Wing does not allow for a chronological presentation of the museum’s collection, creating a disjointed visitor experience. To remedy the issue, The Met plans to rebuild the Wing, potentially from scratch. Enhanced exhibition space will also allow the museum to better display its Modern and contemporary art holdings, which got a considerable upgrade last spring when philanthropist and cosmetics mogul Leonard A. Lauder donated 79 Cubist paintings, drawings, and sculptures.

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Plenty of collectors want to donate artworks to museums, but the museums don't always welcome them with open arms. "We say 'no thanks' 19 times out of 20," says Betsy Broun, director at the American Art Museum. Sometimes the works aren't museum-quality, other times they don't fit with the museums' philosophy.

But in 1986, representatives from the Sara Roby Foundation called the Smithsonian with an offer it couldn't refuse: paintings by Edward Hopper, Raphael Soyer, Reginald Marsh and many more. They were all collected by Roby, who, in the early 1950s, took on a mission: to save Realistic art from the maws of Abstract Expressionism. The at the Smithsonian's American Art Museum.

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Scratch an art dealer, and you’ll often find a curator. That’s the case with Craig Starr, who seems to operate in the secondary art market mainly to support his persistent curatorial itch. For nearly a decade, he has been mounting sharp-focus shows of historical works by prominent American postwar artists in his jewel-box gallery on the Upper East Side.

Mr. Starr’s latest effort — one of his best — is “Robert Rauschenberg: The Fulton Street Studio, 1953-54.” With 15 works borrowed from private collections, this exhibition delves into a formative period in the development of Rauschenberg (1925-2008), when he was in his late 20s and moving fast. It presents his sensibility in a nutshell, his broad aesthetic range, omnivorous curiosity, playfulness and intuitive elegance.

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Between 2010 and 2013, 100 American masterworks from the Phillips Collection in Washington, D.C. traveled to museums in Italy, Spain, Japan, Tennessee, Texas, and Florida. The exhibition earned rave reviews and was seen by more than 30,000 people. The Phillips Collection is currently hosting an expanded version of this hit show, titled “Made in the USA: American Masters from the Phillips Collection, 1850-1970.”

The exhibition is the most comprehensive presentation of the museum’s American art collection undertaken in nearly 40 years. “Made in the USA” presents over 200 works from the museum’s holdings including seascapes, city scenes, abstract canvases, and portraits. The exhibition is organized chronologically, beginning with American art from the late 19th century and ending with works from the postwar years. “Made in the USA” includes paintings, drawings, and etchings by Thomas Eakins, Rockwell Kent, Edward Hopper, John Marin, Arthur Dove, and Willem de Kooning.

The Phillips Collection, which was founded in 1921 by Duncan Phillips, was the first museum in the United States dedicated to American art. Over the course of 50 years, Phillips built a collection of nearly 2,000 pieces of modern art of which 1,400 were American.

“Made in the USA” will be on view at the Phillips Collection through August 31.

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Michael Altman Fine Art in New York is suing Pace Gallery in Seattle over a damaged painting by Willem de Kooning worth $6.4 million. Michael Altman Fine Art had purchased Untitled IV from Pace last December. The Abstract Expressionist canvas was later sent to a prospective buyer in Dallas who upon receiving the painting discovered a horizontal mark where packing materials had been adhered directly to the canvas. James Sowell, a Dallas-based real estate developer, turned down the painting after seeing the damage.

In a case filed in Manhattan Supreme Court, Michael Altman Fine Art claimed that Pace failed to take proper and adequate precautions while packing and handling the work. The gallery is suing to recover the $1.25 million it will cost to repair the painting.  

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