The House of World Cultures’ exhibition tells the story of the Congress for Cultural Freedom’s use of an aesthetic of freedom, and contextualizes the lasting legacy of modernism within the geopolitical power struggles of the Cold War.
By a playful amalgam of semiotics with scatology, Twombly redevised history painting into palimpsest poop.
Ed Clark’s approach is simple and straightforward, and he has not altered it much over the years. I don’t think he needs to.
This expansive AbEx show is brash, irreverent, and unconstrained, just like the period it aims to express.
DENVER — The paintings in Women of Abstract Expressionism at the Denver Art Museum are rich with emotion, monumental in scale, and totally original.
In 1952, years before she won the Pulitzer Prize for Criticism, art critic Emily Genauer received a pair of rubber underpants in the mail — the kind of underpants babies wore before the advent of disposable diapers.
DENVER — The story goes like this. It is 1950. Virginia born painter Judith Godwin learns that dancer and choreographer Martha Graham will be in the region and all Godwin can think about is her desire for Graham to perform in Staunton at the all women’s school she attended, Mary Baldwin College.
In the fourth episode of the Hyperallergic Podcast we focus on the Women of Abstract Expressionism exhibition at the Denver Art Museum.
DENVER — The Clyfford Still Museum’s current exhibition, Repeat/Recreate, has been on the institution’s wish list for nearly 10 years, since well before it even opened.
John Ferren did not so much work outside the mainstream as circle it continuously in a personal and highly meditative quest for meaning.
The paradigm of the “overlooked female artist” is both a cliché and a truth.
For young painters today, Abstract Expressionism is ancient history; a few rooms in MoMA’s permanent collection galleries, a handful of images from the pages of Gardner or Janson, all set before a backdrop of a now mythical Downtown Manhattan of $200-dollar-a-month lofts.