Brooklyn - based artist Vincent Como, who has also centered his practice around the investigation
of black abstraction for the past twenty years, describes his affinity for this material and subject matter:
She refuses, too, to tackle mainstream art on its own terms, with the creativity and diversity
of black abstraction.
Not exact matches
mmm... a protagonist who complete dominates a long film to the detriment
of context and the other players in the story (though the abolitionist, limping senator with the
black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack
of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools
of docufiction and costume drama, with costume drama winning out; and the second subject
of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal
abstraction
Beautifully shot in
black and white, and favouring minutely designed long takes — as a conscious homage to some
of the directors Ross Perry admires, such as Philippe Garrel — The Color Wheel playfully hovers between
abstraction, realism with a faux - improvised feel, and New York Jewish humour — a staple in Altman's comedic routine.
Through unknown
black magic and dark arts, our friends at
Abstraction Games are crafting an absolutely perfect version
of Hotline Miami for both PlayStation 3 and PS Vita and are taking great care to take advantage
of both systems nifty features.
A version
of this story originally appeared in the June 2014 issue
of ARTnews on page 62 under the title «
Black Abstraction: Not a Contradiction.»
«Generations
of black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstrac
black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «
Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstrac
Black in the Abstract,» a two - part exhibition that focused on the history
of African American painters working in
abstraction.
Outside
of her work for museums and biennials, Edwards has independently curated exhibitions at galleries, most notably «Blackness in
Abstraction,» an expansive survey
of the color
black in non-figurative work, for New York's Pace Gallery in 2016.
Yet over the last decade, she has forged a conceptual link in her work between the histories
of abstraction and
of modern jazz in America — «
black guys in the 1950s taking jazz into the concert hall and making it this bluesy hybrid with Bach,» as she puts it.
Inspired by urban surroundings
of the big city, a landscape
of his home in rural Pennsylvania, and Japanese calligraphy, the artist transfused these motifs into the recognizable large
black - and - white paintings which helped establishment
of Gestural
Abstraction as an important segment within Abstract Expressionism.
Adventures
of the
Black Square presents
abstraction as not being estranged from social reality, that its concern with form, shape and colour throughout its history are intrinsically linked to politics and expressions
of modern living.
Collection, Museum
of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum
of Art, Oklahoma City, OK; Santa Barbara Museum
of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum
of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University
of Rochester, Rochester, NY 1980 Works
of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection
of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum
of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978
Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College
of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975
Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974
Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973
Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University
of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT
Her tall
abstractions move among shades
of black, white, or a single color.
Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple
Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981
Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue
of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles
of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.
Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting
of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric
abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's
abstraction made by embedding gold chains in a field
of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture
of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.
The exhibition looks at the role
of the color
black across a range
of practices, spanning Geometric
Abstraction, Minimalism and Conceptualism to its use in the present.
The National Museum
of Women in the Arts is celebrating the work
of black women working in modern and contemporary
abstraction, including Alma Thomas, Jennie C. Jones, Howardena Pindell, and Mary Lovelace O'Neal (shown above).
Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul
of a Nation: Art in the Age
of Black Power examines the influences, including the civil rights movement, Minimalism, and
abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.
The artist's seemingly distinct activities — the severe
black abstractions, the prolific and caustic social and political graphic work, and the color slides
of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense
of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).
«RASHID JOHNSON: Anxious Men» @ The Drawing Center New York, N.Y. Over the past 15 years or so, Rashid Johnson «s practice has explored a range
of themes, including «the
black experience in America, the dialogue between
abstraction and figuration, and the relationship between art and personal identity.»
Energy / Experimentation:
Black Artists and
Abstraction 1964 - 1980 presents a focused group of African - American artists working in abstraction in the twentieth - century, additionally exploring the relationship between politics and a
Abstraction 1964 - 1980 presents a focused group
of African - American artists working in
abstraction in the twentieth - century, additionally exploring the relationship between politics and a
abstraction in the twentieth - century, additionally exploring the relationship between politics and
abstractionabstraction.
Nearby is a gorgeous late Jackson Pollock, Untitled, 1951 that is semi-figurative; a Franz Kline
black and white calligraphic
abstraction, Untitled from 1953; an architectural collage
of rectangular shapes by Conrad Marca - Relli from 1965; and, from 1976, the Larry Rivers pop - historical Big B Signs Up, a lithograph
of two hands clasping a quill pen created by Rivers to mark the U.S. Bicentennial and honor Benjamin Franklin's signing the Declaration
of Independence.
TER.FER.EN.CE, The Farjam Foundation, Dubai, UAE NOW - ism:
Abstraction Today, Pizzuti Collection, Columbus, OH Alter / Abolish / Address, as part
of 5 × 5:2014, a project
of the D.C. Commission on the Arts and Humanities, LAND (Los Angeles Nomadic Division), Washington, D.C. Four Decades
of Drawings and Works on Paper, John Berggruen Gallery, New York, NY Tarīqah, Barjeel Art Foundation, Maraya Art Centre, Sharjah, United Arab Emirates Graphicstudio: Uncommon Practice at USF, Tampa Museum
of Art, Tampa, FL
BLACK / WHITE, curated by Brian Alfred and Shay Kun, LaMontagne Gallery, Boston, MA
By the late 1950s, when Kinley painted Red, White and
Black and other pared down palette - knifed
abstractions of landscape with subliminal suggestions
of the human figure, the Vienna - born, St. Martin's - trained painter had already enjoyed two solo exhibitions at Gimpel Fils, London.
So far, Thomas's 1990s
black and white emulsion paintings have been overlooked in accounts
of New York
abstraction.
From traditional approaches to the more challenging usage, Out
of Easy Reach will investigate the contemporary and conceptual expansion
of abstraction by female - identifying artists from the
black and Latina diasporas.
The curators expound upon a score
of topics, from the Studio Museum in Harlem, Just Above Midtown Gallery, The
Black Photographers Annual, and Emory Douglas and the Black Panther newspaper to abstraction shows, black women artists, FESTAC» 77, and the Wall of Respect and mural move
Black Photographers Annual, and Emory Douglas and the
Black Panther newspaper to abstraction shows, black women artists, FESTAC» 77, and the Wall of Respect and mural move
Black Panther newspaper to
abstraction shows,
black women artists, FESTAC» 77, and the Wall of Respect and mural move
black women artists, FESTAC» 77, and the Wall
of Respect and mural movement.
In one, a list
of a few works seemingly alluding to Hamlet appears on the
black surface, blurring the line between semiotics and
abstraction.
Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010
Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process
Black, LIU South Hampton, New York, NY 1984 A Decade
of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey
of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983
Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds
of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982
Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum
of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University
of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..
In addition to this, Jarvis has independently curated and consulted on many fine art exhibitions including: The Amistad Center for Art and Culture's Double Exposure: African Americans Before and Behind the Camera five - city traveling exhibition (2007 - 2010);
Black Abstraction at Harmony Hall Regional Art Gallery in Fort Washington, MD for the group
Black Artists
of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (2014
of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part
of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (2014
of the Curatorial Initiative program at the District
of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (2014
of Columbia Arts Center (2014) all in Washington, DC; and most recently,
Of Present Bodies at the Arlington Arts Center, VA (2014
Of Present Bodies at the Arlington Arts Center, VA (2014).
The National Museum
of Women in the Arts is presenting works by 21
black women artists working in
abstraction from the 1960s to the present.
New York, NY — Pace Gallery is pleased to present Blackness in
Abstraction, an exhibition curated by Adrienne Edwards tracing the persistent presence
of the color
black in art, with a particular emphasis on monochromes, from the 1940s to today.
Blackness in
Abstraction considers the use
of black as a method, mode and material in works by twenty - nine artists who have explored the expressive and symbolic possibilities
of black as a color.
«Lygia Pape: A Multitude
of Forms» on the female Brazilian artist just opened at the Met Breur; «Making Space: Women Artists and Postwar
Abstraction» opens April 15th at MoMA; and «We Wanted a Revolution:
Black Radical Women, 1965 - 85 «opens at the Brooklyn Museum on April 21st.
Related review looks at a retrospective
of Lee Krasner and at
blacks and women in postwar
abstraction.
Butzer's solo exhibition at Metro Pictures introduces his exploration
of abstraction in a committed and meditative approach, bringing together a series
of oil on canvas paintings in which the arresting and potent impact
of the color
black prevails the surface.
This year the Whitechapel Gallery kick - starts a groundbreaking exhibition
of 100 years
of geometric
abstraction, Adventures
of the
Black Square, with an allusion to Malevich's famous work, first shown in 1915.
Queens Museum
of Art IL LEE: Ballpoint Drawings A selection
of drawings — striking indigo and
black ink
abstractions, all done exclusively in ballpoint pen, on paper and canvas — makes up this engrossing show by the veteran Korean artist Il Lee.
The resin
of surfboards has become Alex Weinstein's
black resin — and from there Jeremy Everett's
black sign paint, Vija Celmins's
black abstraction, and Jeff Lewis's swelling dark star.
In a gesture towards
abstraction in which blackness is and is not locatable, then, «
black is a color» is an epistemological exploration
of black diasporic wonderings.
Tracing the influence
of abstraction through society and politics over the past century, the exhibition stands in ardent defence
of the artistic practices
of Malevich and his contemporaries, an ambitious attempt to corroborate his rebuttal from more than 80 years ago that «the
Black Square is real life.»
It includes one WPA - style study and one
of his last
abstractions, with a looming
black blob that threatens at any moment to become a head.
I'm the kind
of painter I am, and I'm influenced by what I'm influenced by, so I'm never going to make a solid
black square and call it
abstraction.
One review, published in the journal
of the Art Workers» Union, claimed that the non-objective
abstraction of artists such as Vladimir Tatlin, Aleksandr Rodchenko and Lyubov Popova had created a fated art, one that «terminated in an artistic dead - end, Malevich's
Black Square».1
1987 1987 Biennial Exhibition, Whitney Museum
of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum
of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract
Abstraction, The Aldrich Museum
of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations
of Geometry, Whitney Museum
of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in
Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty
of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs
of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum
of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning
of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute
of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)
A unique and highly respected collection, it illustrates the history
of art by artists
of African descent from the 1940s to the present, with a special emphasis on
black abstraction.
«He sort
of disappeared,» said Fine, who added, «He was always admired within the
black artistic community among people who respect
abstraction — not a broad category!»
They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions
of her radical choreographic style and films, as well as in Pendleton's
Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series
of paintings entitled Untitled (A Victim
of American Democracy), which debuted this past summer as part
of Edwards» Blackness in
Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.
2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum
of Art, Birmingham, AL We Wanted a Revolution:
Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute
of Contemporary Art, Boston, MA Magnetic Fields: Conversations in
Abstraction by
Black Women Artists 1960 - Present, Kemper Museum
of Contemporary Art, Kansas City, MO; National Museum
of Women in the Arts, Washington, DC; Museum
of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching
Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum
of Art, Carnegie Museum
of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar
Abstraction, The Museum
of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY
Magnetic Fields: Expanding American
Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in a
Abstraction, 1960s to Today places abstract works by multiple generations
of black women artists in context with one another — and within the larger history
of abstract art — for the first time, revealing the artists» role as under - recognized leaders in
abstractionabstraction.