Philip Pavia: Sculpture and Drawings
May 5–July 30
A guiding spirit behind The Club, Philip Pavia (1911-2005) edited the group's de facto magazine, It is, and organized many of the panel discussions that helped define the New York School in the 1950s. For many years, Pavia lived and worked seasonally on Squaw Road in East Hampton. This selection of drawings and stone sculptures, lent by the artist's estate, focuses on the 1960s, when he began working in marble. Treating blocks of stone as collage elements, he assembled units of various colors and textures to create so-called scatter sculptures. One of the major examples, Lily Pond, from 1965-66, will be installed on the museum grounds. Pavia's drawings, while related to works like Lily Pond, are not studies for specific sculptures. He described them as "thought-forms" that helped him visualize ideas for three-dimensional structures. Some are quick sketches, while others are more fully realized artworks in their own right. An illustrated catalog, with essays by painter Natalie Edgar Pavia, the artist's widow, and art historian Phyllis Braff, will accompany the exhibition.
|Philip Pavia in his studio, ca.
1990. Photograph by Dale Craig.
|Philip Pavia, Untitled, 1960s.
Graphite and watercolor on
paper, 11 ½ x 9 ins. Lent by
the artist's estate.
Innovation and Abstraction: Women Artists and Atelier 17
August 4–October 29
In 1940, Stanley William Hayter transferred Atelier 17, his innovative printmaking workshop, from Paris to New York. For the next 15 years, the workshop led a revival of fine-art graphics, encouraging unorthodox techniques and experimentation. Many of the foremost modern artists, from European refugees during World War II to Americans like Pollock, Motherwell, de Kooning and Kline, made prints there. Among them were more than 90 women, including Louise Nevelson, Anne Ryan, Louise Bourgeois and Alice Trumbull Mason. This exhibition, organized by guest curator Christina Weyl, PhD, features experimental graphics by those artists, as well as Minna Citron, Worden Day, Dorothy Dehner and Sue Fuller, together with examples of their better-known work in other media. Lenders include the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum and the Whitney Museum of American Art. A fully illustrated e-catalog, with an essay by Dr. Weyl, will accompany the exhibition, which will travel to the Jane Voorhees Zimmerli Museum at Rutgers University in January 2017. Download e-catalog »
|Louise Bourgeois, Ascension
Lente, 1949. Engraving, with
scorper and monotype, 8 ¾ x
6 7/8 ins. Lent by the Museum
of Modern Art, New York.
|Anne Ryan, Number 319, 1949.
Cut and torn papers, fabrics,
gold foil, and bast fiber pasted
on paper, mounted on black paper,
7 ¾ x 6 ¾ ins. Lent by the Metropolitan
Museum of Art, New York.
|Artists working at Atelier 17,
New York, ca. 1948.