|New York Times review the Milton Resnick exhibition at Mana Contemporary. The Milton Resnick survey exhibition currently at Mana Contemporary, and extended through August 8, 2014, was discussed by Ken Johnson of the New York Times in a review entitled An Abstract World That Looks Like Silence, (Friday, July 25). Johnson singled out the “beautiful first-floor installation of the expansive, allover abstractions that Resnick painted in the 1970s and ‘80s” for special attention. [Read the full article on nytimes.com]
Artcritical.com reviews the Milton Resnick exhibition at Mana Contemporary. On Friday, July 11, Jonathan Goodman reviewed the exhibition on the website Artcritical.com. The article, entitled Man Out of Time: Milton Resnick at Mana Contemporary makes the point that: “There exists within the body of Resnick’s art a vision that … [is] central to the New York School’s early history. … From the early colorful efforts to the final … marvelously rough paintings accompanied by simple figures, [his works] clearly need to be organized within a revised understanding of the art of his time.”[Continue reading on Artcritical.com]
Milton Resnick (1917–2004): Paintings and Works on Paper from the Milton Resnick and Pat Passlof Foundation,
Opening at Mana Contemporary in Jersey City on Saturday, May 10 and continuing to August 1, 2014, the exhibition will present work from Resnick’s entire six-decade career, including a rare 1937 portrait; quintessential Abstract Expressionist paintings from the 1940s and ’50s; a selection of the large allover paintings of the 1960s through 1980s for which Resnick is best known; and a group of late figurative works.
Drawn entirely from the holdings of the Milton Resnick and Pat Passlof Foundation, this will be the largest exhibition of Resnick’s work to date, and the first career survey exhibition to be held on the East Coast. Learn more about and view this exhibition here.
|MoMA Making Space: Women Artists and Postwar Abstraction
“Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them. Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender.” – MoMA
Organized by Starr Figura, Curator, Department of Drawings and Prints, and Sarah Hermanson Meister, Curator, Department of Photography, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965
January 10–April 1, 2017
“Between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, the New York art scene was transformed by artist-run galleries. Inventing Downtown presents works from fourteen of these crucibles of experimentation, highlighting artists’ efforts to create new exhibition venues for innovative works of art—ranging from abstract and figurative painting, assemblage, sculpture, and works on paper to groundbreaking installations and performances.”- Organized by Grey Art Gallery, NYU
Curator: Melissa Rachleff
New York Times, December 12, 2014
Pat Passlof: ‘Paintings From the 1950s’ (through Dec. 20) This thrilling exhibition of often unknown canvases suggests that Passlof raised her own brand of Cain working in the shadow of her teacher Willem de Kooning. In comparison, she painted more bluntly, with thicker paint and worried less about color and shape. Earliest and smallest may be best in this show, which any museum curator hoping to expand the story of Abstract Expressionism should see. Elizabeth Harris Gallery, 529 West 20th Street, 212-463-9666, elizabethharrisgallery.com. (Smith)
The World’s Largest Love Letter and Tentative Existential Beauty
By Peter Plagens, Wall Street Journal, Dec. 5, 2014
Pat Passlof: Paintings from the 1950’s at the Elizabeth Harris Gallery, New York