Golden calls her show «post-black art,» and she has a museum that can even
present black abstract artists, a black artist collective of the 1960s, or black conceptual art as a lost tradition.
The Studio Museum has also
presented black abstract artists as a vital tradition, as well as black conceptual art.
Not exact matches
Entitled Drip, Drape, Draft, the show
presents works by Robert Davis, a close friend of Johnson for more than a decade; Angel Otero, who he has known for some six years; and Sam Gilliam, an older
artist from what Johnson refers to as «an almost lost generation of
black abstract painters», with whom he recently struck up a mutually significant friendship.
Mangold's woodcuts premiering for the first time are also
presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870 — 1953), known for his
abstract landscapes, and with Duet and Murmur (2014), New York — based contemporary
artist Cheonae Kim's (1952 ---RRB- paintings from her linear
black - and - white series.
Talk: «Al Held Panel Discussion» at Cheim & Read Following last week's opening of the highly praised exhibition «Al Held:
Black and White Paintings,» which showcases eight of the
abstract painter's monumental canvases of interlocking forms from 1967 to 1969, the gallery is
presenting an in - depth discussion of the
artist and his work.
Elsewhere in the exhibition, next to a
black - and - white
abstract calligraphy ink painting by Hasegawa and an untitled piece by Robert Motherwell featuring an oil paint — splash «wave» cresting through the air, Asian - American AbEx
artist Satoru Abe
presents The Idol (1958), an equally delicate copper and bronze skeletal monument.