tag archives: abstract expressionism

i recently returned from the most extraordinary trip to new york.  the primary purpose was to help a client select some artwork for their residential interior design project.

exceedingly successful.  and, exceptionally inspiring.

i spent most of the time that i wasn’t working gallery and museum hopping.  joan mitchell, john chamberlain, and sol lewitt in chelsea.  sean scully on the upper east side.  the breathtaking zao wou-ki abstract expressionist painting exhibition at asia society.  and at the whitney, the brilliant carmen herrera modernist painting exhibition.

i hope that you enjoy scrolling through the following posts as much as carmen herrera is enjoying having her first retrospective museum exhibition at the age of 101!

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joan mitchell:  drawing into painting

cheim & read | new york, NY

27 october-23 december 2016

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photo credits cheim & read

unfortunately, my trip to new york preceded the opening of joan mitchell:  drawing into painting.  fortunately, one of the gallery directors at cheim & read kindly presented a preview of available pastel on paper drawings for my client’s consideration.  which one do you prefer?

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joan mitchell ( 1925-1992) | untitled | pastel on paper | circa 1980-1990

photo credit cheim & read

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joan mitchell (1925-1992) | untitled | pastel on paper | 1991

photo credit cheim & read

no limits:  zao wou-ki

asia society | new york, ny

9 september 2016-8 january 2017

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zao wou-ki (1921-2013) | homage to chu yun—05.05.55 | oil on canvas | 1955 | private collection, switzerland

© zao wou-ki prolitteris, zurich | photo credit dennis bouchard via art summary

1967

zao wou-ki (1921-2013) | 09.07.67 | oil on canvas | 1967 | private collection, taiwan

© zao wou-ki/prolitteris, zurich | photo via asia society

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zao wou-ki (1921-2013) | 05.03.65—for my brother wu-wai | oil on canvas | 1965 | chao 2000 trust

© zao wou-ki prolitteris, zurich | photo credit michelle geoga via asia society

1976

zao wou-ki (1921-2013) | 13.01.76 | oil on canvas | 1976 | private collection, taiwan

© zao wou-ki/prolitteris, zurich | photo via asia society

before we visited the fundació joan miró during our recent trip to barcelona, spain, i would have described joan miró (1893-1983) as a surrealist artist.  although he was influenced by and influenced fauvist, cubist, surrealist, abstract expressionist, and color field artists, his work really shouldn’t be attributed to one art movement.

‘i have no interest whatsoever in any school or any artist. 

i am only interested in the anonymous,

in the result of the unconscious effort of the masses.’

-joan miró (1893-1983)

instead, miró developed his own visual language.

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joan miró (1893-1983) | morning star | from the constellation series | gouache, oil and pastel on paper | 1940

the 23 works from miró’s constellation series (1940-1941), which were exhibited in new york in 1945, influenced american post-war art

‘to me, conquering freedom means conquering simplicity. 

at the very limit,

then, one line, one color can make a painting.’

-joan miró (1893-1983)

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joan miró (1893-1983) | painting on a white background for the cell of a recluse I, II, III | acrylic on canvas | 1968

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | the hope of a condemned man I, II, III | acrylic on canvas | 1974

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | rejected model for the mosaic of pla de l’os | ink, crayon, and etching on paper | 1976

joan miró (1893-1983) | mosaic of pla de l’os | la rambla | barcelona, spain | 1976

photo credits lisa walsh | innerspace

miró spoke not only of painting, but also of anti-painting, which challenged artistic concepts and conventions by deconstructing the process and the painting.

‘i want to assasinate painting.’

-joan miró (1927)

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joan miró (1893-1983) | burnt canvas 5 | acrylic on canvas, later torn and burnt | 1973

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | burnt canvas 5 and burnt canvas 4 | acrylic on canvas, later torn and burnt | 1973

joan miró:  the ladder of escape | tate modern museum | london, united kingdom | 14 april-11 septermber 2011

photo credit andrew dunkley/tate photography via the guardian

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joan miró (1893-1983) | may | acrylic and oil on canvas | 1973

photo credits lisa walsh | innerspace

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joan miró (1893-1983) | fireworks I, II, III | acrylic on canvas | 1974

photo credits lisa walsh | innerspace

do you prefer miró’s work inspired by abstract expressionism?

or, miró’s work that inspired abstract expressionism?