A Painter's Hand: The Monotypes of Adolph Gottlieb is now on view at the University of New Mexico Art Museum. The exhibition looks at the works done in the last years of the artist's life, from the summer of 1973 to February of 1974. The exhibition is on view through May 13, 2017 at the Univerity of New Mexico Art Museum in Albuquerque. For more information, visit the museum's website.
Pace is pleased to announce its inaugural participation in SP-Arte, taking place at the Pavilhão Ciccillo Matarazzo, in São Paulo from 4 – 7 April 2013. The gallery’s booth (G2) will include Joel, a large-scale oil-on-canvas portrait of American sculptor Joel Shapiro by Chuck Close; an elegant sculpture by Alexander Calder; a stained glass sculpture homage to the legendary Brazilian architect Oscar Niemeyer by Brian Clarke; and a painting by Mark Rothko. The gallery is proud to feature work
Adolph Gottlieb: Gravity, Suspension, Motion Pace Gallery 534 W. 25th St., (212) 929-7000 Through April 28 Among the first-generation Abstract Expressionists, Adolph Gottlieb (1903-1974) was, along with Robert Motherwell, the most elegant. His mature paintings—done after the "Pictograph" pictures of the 1940s—are less aggressively radical than Jackson Pollock's, less deliberately "tough" than Franz Kline's, and less theoretically driven than Hans Hofmann's, with his "push-pull" big idea. They
On November 19, 2011, The Pace Gallery, Beijing will present the second installment of the gallery’s annual “Beijing Voice” exhibition. This is a long term project devised by The Pace Gallery, Beijing to consider and interpret the artistic phenomena that are currently underway in the art field. The first installment, Together or Isolated explored the complex interplay between artworks and their sociocultural background while addressing certain phenomena and issues extant in Chinese contemporary a
As if burning its way through a golden halo, the deep vermilion orb throbs above a plain of palpitating ochre flecked with a sinister patch of blood-red froth. In one corner, two bands of citrus orange and yellow are shrill exclamations in the deliquescent surface. The wealth of fiery associations – a merciless desert sun, a red-hot grill, a bubbling, infernal pool – make the appreciation of “Heatwave” (1961) a skin-prickling experience. It can also be read as a metaphor for anger; a voyage thro
If any of the summer season's exhibitions can be described as "under the radar," it's surely "Side by Side: Oberlin's Masterworks at the Met," which places loans of 19 paintings and one sculpture amid the Metropolitan Museum of Art's own masterworks. In a less blockbuster-oriented age, summer shows at the Met consisted of loans from private collections. As curator Claus Virch wrote about the 1967 Summer Loan Exhibition in the Met's Bulletin that season, it "takes its shape from what New Yorkers c
It's sobering to consider that an exciting and concise exhibition about a 1950s New Jersey synagogue and its artworks can serve as a periscope through which we can view the New York art world of the time, postwar American architecture, suburban demographic trends and, not incidentally, a moment in the history of the American Jewish community. That's what happens in the Jewish Museum's remarkable exhibition "Modern Art, Sacred Space: Motherwell, Ferber and Gottlieb," which focuses on only three wo
“How to get better religious art is very simple: just commission an artist. Then ask him to act as an artist, with imagination, with freedom, with vision, with daring.” So said the painter Adolph Gottlieb, one of three Modern artists who worked on an innovative Millburn, N.J., synagogue in the early 1950s. That Conservative synagogue — Congregation B’nai Israel — is now renovating and expanding, and has lent some of its art to the Jewish Museum for a small but transcendent exhibition. “Modern Ar