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Modern & Post-War Art at Swann May 20

Modern & Post-War Art at Swann May 20 NEW YORK, New York Subject Line Please provide verification code Email is invalid New York—Swann Galleries will hold its sale of Modern & Post-War Art on Thursday, May 20. The auction will present a selection of highlights ranging across Modernist illustration, American abstract artists—including members of the Irascibles and The Club—Color Field, Pop, Minimalism, American Surrealism and more.             The auction will be headlined by color field, pop and minimalism with 7 Maidens, a 1963 duco-and-oil on canvas painting by John Wesley ($80,000-120,000); Horizontal Brushstroke, a 2003 gouache-on-paper by Sol Lewitt; and a grouping of three portfolios Walasse Ting:

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Philip Guston's Peculiar History Lesson

Philip Guston in his Woodstock studio, 1964. (Photo by Dan Budnick / Courtesy of Laurence King Publishing) You might remember that a retrospective of the paintings of Philip Guston was planned to open last June at the National Gallery of Art in Washington, and would then have traveled to Houston, London, and Boston. When the Covid-19 pandemic forced the museum to close, a new tour schedule was set: The show would open at the Tate Modern in London in February 2021, with dates in Washington, Boston, and Houston to follow. BOOKS IN REVIEW By Robert Storr If all had gone well, I might have flown to London to see that show and write about it. But the Tate is closed again, and I’m not flying anywhere, thank you. Besides, the National Gallery and its sister institutions chose to put off the Guston show until 2024 and then, after an uproar, until 2022. This is not the time or place to thrash out the rights and wrongs of the museums’ decisions and redecisions, or of the objections

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Dan Nadel on Philip Guston's Jewishness - Artforum International

Dan Nadel on Philip Guston’s Jewishness Philip Guston, If This Be Not I, 1945, oil on canvas, 42 1/4 × 55 1/4 . © The Estate of Philip Guston. TO BE A JEW in twentieth-century America was to be an outsider. We Jews gathered in temples and schools, we bought properties, physical and intellectual, to maintain control of our environments. We formed our own magazines. We exploited ourselves and others. Ashkenazi Jews can pass as non-Jewish when it suits us, or Jewish again when we wish to be “chosen.” And when blame is to be assigned, or walls erected, we can once again pass or not pass depending on the ideological needs of the times. The tension inherent in assimilation and rejection, donning and discarding a mask, is at the center of Philip (Goldstein) Guston’s work. It also accounts for some of the resentment, bitterness, and neuroticism embedded in so much twentieth-century art and entertainment. Guston lives in this tradition wi

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