- Frank Stella's Rozdol I sells for 1.1M USD- Five of the most expensive works in the platform's history sold in the past five months- Platform to test market waters with high value sale in August 2021BERLIN
Organized by Rory Padeken, curator
The circle and the square. Verticals, swoops, and folds. Flat planes and sensuous surfaces. Colors bright and vibrant. During the late 1950s and 60s, artists began to diverge from the painterly, gestural approaches of Abstract Expressionism in favor of what the American art critic Clement Greenberg in 1964 called post-painterly abstraction. Artists moved in a variety of directions, some in pursuit of paintings pure in color and open in composition while others toward structured, linear designs using familiar geometric shapes. Rejecting a loose application of paint, these artists stained their unprimed canvases or created flat planes of color devoid of any distinctive mark making.
Director Linda Harrison’s office at the Newark Museum. Photo courtesy of the Newark Museum.
I choose art for my office exactly as I choose art for my home. I must want to live with it. Both at home and my office, I prefer the interest of hanging pieces salon style. I love getting lost in a wall crowded with juxtaposed objects. A way to have refreshing mini-breaks throughout a day packed with back-to-back meetings. It’s also a great icebreaker when visitors step into my office. They’re often drawn to a particular piece and thus our conversation begins.
More Is More in This Gargantuan, Art-Filled House in the New York Suburbs
Designing a 33,000-square-foot family home might seem daunting for some. Not for Delphine Krakoff.
By Lauren Mechling Ngoc Minh Ngo
Bank of America. Beyoncé. Bubble tea. Some things really are too big to fail. But bringing a 33,000-square-foot house to boisterous, unfussy life is no sure thing. Add to the mix a museum-quality art collection, 24-foot-high ceilings, and a private hockey arena, and you’re one misstep away from a residence that feels larger than livable, too imposing to greet visitors with a sweet embrace.
In the main stair hall, the stainless-steel sculpture is by Tony Cragg, and the artwork is by George Condo.