Abstract artists and their work
75th Anniversary: United states Abstract Artists Global
Deutscher Künstlerbund Projektraum & Galerie oqboOpening: Friday, May 13, 2011, 7:00 pm
The two-part convention, that happen both in the Galerie oqbo plus the Projektraum at Deutsche Künstlerbund, will present works from 75 US and German artists, and will offer an overview various contemporary manifestations of abstract art. The works of the United States Abstract Artists will likely to be complemented by a selection of ten works each by the Galerie oqbo (through the Paperfile collection) and the Deutsche Künsterlbund.
Degenhard Andrulat, Kirstin Arndt, Martin Ball, Michael Bause, Siri Berg, Emily Berger, Christian Bilger, Susan Bonfils, Sharon Brant, Henry Brown, James O. Clark, Mark Dagley, Matthew Deleget, Ruth Eckstein, Frank Eltner, Gabriele Evertz, Andreas Exner, James Geccelli, Heidi Gluck, Thomas Grochowiak, James Gross, Lynne Harlow, Mara Held, Daniel G. Hill, Gilbert Hsiao, Ben Hübsch, Phillis Ideal, Julian Jackson, Michael Jäger, Susanne Jung, James Juszczyk, Cecily Kahn, Steve Karlik, Marthe Keller, Victor Kord, Irene Lawrence, Dirk Lebahn, Seraphina Lenz, Mon Levinson, Jane Logemann, Vincent Longo, David MacKenzie, Stephen Maine, Katinka Mann, Nancy Manter, Bertold Mathes, Rossana Martinez, Creighton Michael, Klaus Merkel, Manfred Mohr, Maria Morganti, Judith Murray, John Phillips, Lucio Pozzi, Leo Rabkin, David Rhodes, Ce Roser, Irene Rousseau, David Row, Jo Schöpfer, Edward Shalala, Anita Stöhr Weber, Richard Timperio, Clover Vail, Don Voisine, Merrill Wagner, Stephen Westfall, Jeanne Wilkinson, Mark Williams, Thornton Willis, Renate Wolff, Kes Zapkus, Julia Ziegler, Nola Zirin, David Reed
“Our function is always to unite abstract designers surviving in the United States, to carry ahead of the public their specific works, as well as in every possible method foster community admiration because of this course in artwork and sculpture. We think that a art form is established which can be definite sufficient in character to demand this united work. (Through the preface towards 1938 catalogue for the United states Abstract Artists’ second annual convention)
It was 1936, in addition to country was at the center of the truly amazing anxiety. Though many general public presentations of art had been conventional, recording the subdued tone of a nation under economic siege, the Museum of contemporary Art mounted initial event of cubist and abstract art—but ignored American music artists in this vein. Angry, several musicians and artists formed a support system, led by Carl Holty, Harry Holtzman, and George L. K. Morris, and began to satisfy informally at studio of Ibram Lassaw, talking about methods to replace the perception of the work and deliver even more attention to their particular some ideas and ideals. One can imagine the vitality, the vibrant talk, the energetic camaraderie that created of these nights. And in 1937, this casual team exhibited collectively the very first time on Squibb Gallery on 57th Street as the American Abstract Artists.
They certainly were heady times, in addition to popularity of their first exhibition led to a growth in membership, more events, lectures, and catalogues. Years later on, one of many original users, Esphyr Slobodkina, remembered, “Critical opinion was about equally split between scathing denunciations and harmless fascination.” Perhaps not frustrated, the group thrived although the experts remained aggressive, culminating in 1940 as soon as the group formed a picket line as you're watching Museum of contemporary Art, protesting the lack of recognition and value by these types of organizations.
During World War II, European musicians and artists Piet Mondrian, Fernand Lèger, and László Moholy-Nagy emigrated to The united states and found a sympathetic community on the list of members of the AAA. Mondrian joined up with the team and was something of a spiritual mentor to many of these, along side Hans Hofmann, who never joined up with, but whoever inspirational teaching spawned an innovative new generation of like-minded musicians. Within the 1950s, the more sturdy abstraction of Mondrian was replaced by a quiet stillness, specially obvious in the work and writings of musicians like Ad Reinhardt and Burgoyne Diller. While abstraction appeared to be moving in brand-new directions, the longevity of this team it self can be attributed to its insufficient dogma, rejection of every party line or adherence to virtually any manifestoes, and a general open enthusiasm for abstract art in all its variants.
Despite changes inside the account as well as in the art world, the AAA has continued strong for seventy-five years, a testament towards cultivate and proper care of these musicians who strongly genuinely believe that the abstract impulse can cheerfully include diverse methods and identities, from the powerful structural balance of Mondrian, to a biomorphic, surrealist-inspired abstraction, on rigid, grid-like forms of neoplasticism. This event celebrates this success.”