The Anita Shapolsky Gallery presents A Non-Objective Couple, an exhibition featuring partners Sonia Gechtoff and James Kelly. The show features some of the remaining works of these artists’ oeuvres.
Inspired by poetry, particularly by their contemporaries of the Beat generation, Gechtoff, Kelly, and their peers viewed painting as the visual component of literature, engaging distant figuration, swirling motifs, and representations of verbal expression in their paintings. In 1958, the couple moved to New York City, where Gechtoff continues her painting practice to this day at 90 years of age.
Sonia Gechtoff (b. 1926) is considered one of the most influential female Abstract Expressionists. She crafted her signature style using a loaded palette knife to create vibrant, gestural strokes at large scales. Her work is part of numerous international museum collections, including the Metropolitan Museum of Art, the Guggenheim Museum, New York, The San Francisco Museum of Modern Art, and The Whitney Museum of American Art, Currently, Gechtoff is one of the twelve women featured in the traveling Denver Art Museum exhibition, “Women of Abstract Expressionism”, curated by Gwen Chanzit.
James Kelly (1913-2003) had a career which spanned nearly seven decades. While his work in his native Philadelphia had a much more geometric quality, his move to California in 1950 changed his style to gestural, using thick impasto oil paint and swirling. Kelly’s work is part of many permanent collections including The San Francisco Museum of Art, The Los Angeles Museum of Art, The Harvard University Art Museum, and The Whitney Museum of American Art.
For more information, email firstname.lastname@example.org or call 212-452-1094.
Gallery hours: Tuesday–Friday, 11am–6pm, Saturday by appointment.
A Non-Objective Couple continues at the Anita Shapolsky Gallery (152 East 65th Street, Upper East Side, Manhattan) through July, 2017.
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.