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pwlanier · 4 months
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CARLE SHI (Chinese/American, born 1961)
Lemons on a Marble Table
signed 'C. Shi' (lower right); label from Spanierman Gallery, New York (affixed to the backing board))
oil on board
Bonhams
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hazymoongallery · 6 years
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Mary Abbott - Blue Thistle - Spanierman Gallery LLCMary Abbott Blue Thistle, 1960 (Pastel and graphite on paper, 29 3/8 x 41 1/4 inches) Spanierman Gallery, NYC
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Miami #artbaselmiami - Showing work at @artmiamifairs at the @spaniermanmodernmiami Spanierman Modern booth- A103 ! Stop by. . AND also at the @spaniermanmodernmiami Gallery until Jan 5 Come check out our work. #miami #artmiami #artbasel #painting (at Miami, Florida) https://www.instagram.com/p/Bq9_ivqhAvT/?utm_source=ig_tumblr_share&igshid=1v4d14eajkp98
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chocolateheal · 5 years
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How I Successfuly Organized My Very Own Legacy Of Abstract Expressionism | legacy of abstract expressionism
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pwlanier · 4 months
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JAMES HENRY DAUGHERTY (American, 1889-1974)
Portable Bomb Shelter
signed and dated 'J. Daugherty 53' (lower left); labels from Montclair Art Museum and Spanierman Gallery, New York (affixed to the reverse)
oil on canvas
Bonhams
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pwlanier · 4 months
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CHARLES GREEN SHAW (American, 1892-1974)
End of Summer
signed 'Shaw' (lower right); signed and dated 'Charles Shaw / 1957' (on the reverse);
identified on a label from Spanierman Gallery, New York (on the reverse of the frame)
oil on canvas board
Bonhams
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pwlanier · 3 years
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Judith Godwin at her solo exhibition: "An Act of Freedom" at Berry Campbell, New York
WHEN THE ARTIST Judith Godwin died on May 29 in her ninety-second year, the art world lost the last living member of a generation of women Abstract Expressionists, a group of artists largely overlooked in favor of their male peers. I lost a dear friend.
My connection with Judith came about through our mutual friend Julie Lawson, a London art-world personality and assistant to Sir Roland Penrose, one of the founders of the city’s Institute of Contemporary Arts. Years later, when I was living in New York, Julie introduced me to Judith, who struck me as a delightful and irreverent Southern lady. What I didn’t recognize at first was how strong a character she was under that lighthearted gentility. At the time, she was celebrating her victory in a court case against a restaurant that was encroaching on her Greenwich Village property. There, in her beautifully tended garden, resplendent with plants she had known and loved in Virginia—including fine camellias and an extraordinary Lady Banks climbing rose—Franz Kline and Ruth Kligman’s cat was a constant presence (they lived nearby). Judith said she was in the habit of giving Kligman a sandwich whenever she stopped by to fetch the animal. Judith also said she had learned a great deal from Kline, especially his late works in color.
Judith was born in 1930 in Suffolk, Virginia, into a distinguished family tracing ancestors back to the state’s first colonial settlers. This was a background she mostly rejected, leaving Virginia after graduating from Mary Baldwin College and what is now Virginia Commonwealth University to become an artist.
With the reluctant blessing of her parents, she moved to New York, where she studied at the Art Students League and later with Hans Hoffmann at his School of Fine Arts and struggled to establish herself. In addition to being a dedicated painter, Judith, to earn a living, had to learn carpentry, stonemasonry, plastering, interior decoration, and landscaping. She was always a welcome and helpful guest in my home, walking around, tools in hand, checking fittings and hinges. In her studio on West Thirteenth Street, she stretched her own canvases and made the frames for her paintings, which were stacked in partitions she constructed and installed. Independence, improvisation, and self-reliance were fundamental to her character.
Judith often spoke to me of the opportunities she had missed as a woman in New York’s 1950s and ’60s art world. She never felt welcome at the Cedar Tavern, that fabled AbEx stomping ground. Once, at a gallery opening early in her career, she was abruptly sidelined by Ellsworth Kelly while trying to speak to Betty Parsons. However, in 1957, she was in the inaugural Betty Parsons Section Eleven Gallery show, and a year later in a group show at Stable Gallery. She went on to be represented by Marisa del Re Gallery, Spanierman Gallery, and, most recently, Berry Campbell Gallery. Her powerful gestural abstractions are in many private collections and have been acquired by the nation’s leading contemporary-art museums.
Still, it always rankled her that her paintings weren’t more widely known or appreciated, especially in comparison to those of her male contemporaries. But she gained recognition for her place in the canon in 2016 with the Denver Art Museum’s groundbreaking “Women of Abstract Expressionism,” which highlighted twelve women artists, Judith among them. It pleased her to know that a major reassessment of her work and life had begun—and now it will be ongoing.
Anthony Korner is publisher of Artforum.
BerryCampbell
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chocolateheal · 5 years
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27 Thoughts You Have As Abstract-expressionism Approaches | abstract-expressionism
JUDITH GODWIN | AN ACT OF FREEDOM OPENS AT BERRY CAMPBELL
ABSTRACT EXPRESSIONISM – – abstract-expressionism | abstract-expressionism
NEW YORK, NEW YORK, FEBRUARY 6, 2019—Berry Campbell Arcade is admiring to advertise an important exhibition of paintings by allegorical Abstruse Expressionist painter, Judith Godwin.  This celebrated exhibition is a analysis of twenty paintings, including several all-embracing examples from the 1950s originally apparent at the Betty Parsons Gallery. This exhibition is accompanied by a sixteen-page archive with an article accounting by Gwen Chanzit, Ph.D., Curator Emerita of Modern Art and Curator of Women of Abstruse Expressionism (2016) originated by the Denver Art Museum.  The exhibition will accessible with an artist’s accession on Friday, February 15, 2019 from 6 to 8 pm and continues through March 16, 2019.
From 1950, back she aboriginal apparent her assignment to the present, Godwin has captivated to her convictions, application a accent of abstruse anatomy to acknowledge with unbowed artlessness and affection to activity and nature. For Judith Godwin, painting “is an act of abandon and a ability that images generated by the changeable acquaintance can be a able and artistic announcement for all humanity.”[1] Through her studies with Hans Hofmann, her continued affiliation with Martha Graham and Graham’s alive ball movements, her accord in the aboriginal beginning of Abstruse Expressionism, and her adulation for Zen Buddhism and gardening, Godwin has artificial a claimed and different career path. 
Like abounding added women artists of her generation, Godwin accustomed beneath absorption in the mid- and backward twentieth aeon from the columnist and accessible than her macho counterparts. However, the abiding adroitness and ability of Godwin and added women of her time accept become more accustomed and accustomed behind consideration. Amid the contempo efforts at such amends was the June–September 2016 groundbreaking exhibition, Women of Abstruse Expressionism, captivated at the Denver Art Museum, curated by Gwen F. Chanzit, Ph.D. In the show, Godwin’s assignment is featured forth with that Perle Fine, Helen Frankenthaler, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, amid others.
Born in Suffolk, Virginia in 1930, Godwin enrolled in Mary Baldwin College in Staunton, Virginia in 1948. There, she met the acclaimed choreographer and dancer, Martha Graham, who was on bout at the time, and Graham anon encouraged her to move to New York. Settling in New York, she enrolled at the Art Students Alliance and began accessory Hofmann’s school. The move was adventuresome at the time for a adolescent woman from the South, but she bound acquainted at home. Her agents at the alliance were Will Barnet, Harry Sternberg, and Vaclav Vytlacil. Like abounding others who advised with Hofmann, Godwin acquired afflatus and conduct from his instruction. Hofmann’s account about the alive and spatial qualities of blush and his acutely mystical admiration for the act of painting fabricated a abysmal consequence on Godwin.
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Through Hofmann, and while acquaintance the acclaimed Cedar Bar, Godwin associated with Jackson Pollock, James Brooks, Mark Rothko, Willem de Kooning, Marcel Duchamp, and Kenzo Okada. Godwin additionally became fatigued to Zen Buddhism in the 1950s, through her acquaintance Okada.
Toward the end of the 1950s Godwin developed a harsher, rougher facture. She recalls that at the time “if you were a [woman] painter . . . you had to acrylic as strongly, as berserk as the men did.”[2] By the backward 1950s, Godwin’s assignment began to accept attention. She was included in the countdown exhibition at Betty Parsons’s Section Eleven Arcade in 1957, forth with David Budd, Agnes Martin, and Sidney Wolfson. In the afterward year, she alternate in the Stable Arcade Invitational Show, to which she was arrive by James Brooks. She was one of few women to display in the Stable Arcade shows.  In February 1959 and afresh in 1960, Godwin had abandoned exhibitions at Betty Parson’s Section Eleven.
In the 1970s, her paintings acquired complication and force, while advancement painterly spontaneity. In the 1980s Godwin brought a new sensuousness into her paintings, employing delicate colors and accumulation adorning motifs.  In the 1990s she continued her assignment in yet addition administration back she began creating assemblages. Integrating abstracts begin in her studio— including pennies, beads, hacksaw blades, sections of copse veneer, ribbons, gold leaf, all-inclusive wool—into unified compositions, she bankrupt from modernism’s affirmation on transparency, delving into “postmodern notions of character and gender.”[3]
Godwin is represented in over thirty important accessible collections throughout the country, including the Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; McNay Art Museum; the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Museum of Art, Osaka, Japan; National Museum of Wales, Cardiff, South Wales; National Museum of Women in the Arts, Washington, D.C.; San Francisco Museum of Modern Art;; Virginia Museum of Fine Arts, Richmond; and Yale University Art Gallery, New Haven, Connecticut, amid abounding others.
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Berry Campbell continues to ample an important gap in the city art world, showcasing the assignment of arresting and mid-career artists. The owners, Christine Berry and Martha Campbell, allotment a curatorial eyes of bringing new absorption to the works of a alternative of postwar and abreast artists and absolute how these artists accept avant-garde account and acquaint in able and new directions.  Added artists and estates represented by the arcade are Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Eric Dever, Perle Fine, Judith Godwin, John Goodyear, Balcomb Greene, Gertrude Greene, Ken Greenleaf, Raymond Hendler, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Jon Schueler, Albert Stadler, Mike Solomon, Syd Solomon, Susan Vecsey, James Walsh, Joyce Weinstein, and Larry Zox.
Berry Campbell Arcade is amid in the affection of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. www.berrycampbell.com.  For information, amuse contact Christine Berry or Martha Campbell at 212.924.2178 or [email protected].
Lisa N. Peters, Ph.D.
[1] Statement fabricated for Celebration of Women in the Arts (Northern Michigan University, 1978).
abstract expressionist paintings – View All Famous … – abstract-expressionism | abstract-expressionism
[2] Godwin, interview, with Ann Gibson, New York, cited in Ann Gibson, Judith Godwin: Style and Grace, exh. cat. (Roanoke, VA: Art Museum of Western Virginia), 18.
[3] Lowery Stokes Sims, “Judith Godwin: Objectified Gesture,” in Lowery Stokes Sims and David Ebony, Judith Godwin: Paintings 1954–2002 (New York: Spanierman Modern, 2010), p. 5.
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chocolateheal · 5 years
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Things That Make You Love And Hate Abstract Expressionism Europe | abstract expressionism europe
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