METAL: American Sculpture, 1945-1970
November 6, 2015 - January 9, 2016
Special Event & Reception
Gallery Talk and Booksigning with author David J. Getsy
Saturday, November 21st / 5-7pm
Gallery Talk and Reception with art historian David J. Getsy, celebrating the release of his new book Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, published by Yale University Press.
This book examines abstract sculpture in the 1960s that came to propose unconventional and open accounts of bodies, persons, and genders. Drawing on transgender and queer theory, David J. Getsy offers innovative and archivally rich new interpretations of artworks by and critical writing about four major artists – Dan Flavin (1933-1966), Nancy Grossman (b.1940), John Chamberlain (1927-2011), and David Smith (1906-1965). David J. Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago.
NOW AVAILABLE FOR PURCHASE HERE.
The New York Times Review of "Naked at the Edge"
by Roberta Smith
October 28, 2015
“Paintings by two of American art’s most intriguing odd men out meet to inspiring effect in “Naked at the Edge.” Louis M. Eilshemius (1864-1941) and Bob Thompson (1937-1966) shared a sense of independence, a love of the past, a fixation on nude figures in landscapes and a clumsiness that was both a limitation and a strength.”
~ Roberta Smith, The New York Times, October 28, 2015
read the entire review at nytimes.com
Recent Press: Eilshemius & Thompson
Artsy Editorial, September 10, 2015
by Karen Kedmey
“Thompson and Eilshemius both garnered critical acclaim for their work, particularly posthumously, but they nevertheless remained relatively marginalized and practically unknown outside the art world. Thompson, a prolific African-American artist, painted for only eight years but in this short period bypassed the dominance of abstraction in midcentury America and developed his own symbolic language…
Eilshemius’ longer life was marked by the relatively late discovery of his work, in 1917, by Marcel Duchamp, who invited him to exhibit in Paris...For his expressive paintings, which are characterized by figures at rest or play in the center of verdant landscapes, he drew inspiration from the Impressionists. By using soft palettes and dauby edges, Eilshemius crafted harmonious compositions that convey a sense of introspection and quietude.”
Rhino Horn Group, September 9, 2015
by Adam Zucker
“Thompson’s influences are reflected through his understanding and respect of art history, and his personal expression as a black artist in a white art world. Old Master’s and Goya are launching points for Thompson’s masterful improvisational process. In the same spirit that Ornette Coleman created avant-garde music, Thompson created avant-garde imagery that broke free from all preconceived conventions in visual art…
While Thompson’s work conflated the liberated energy of Jazz music, Eilshemius channeled the classical improvisations of Chopin…Eilshemius’ subject matter dealt largely with fantasy and classical themes painted in a subconscious manner. He created an alternate universe from within the paint. Many of Eilshemius’ dreamlike compositions depict mythological imagery such as mermaids, sea monsters, and pagan deities, often performing rituals. These paintings conflated the traditional technique of the artist’s academy with bold themes, which made Eilshemius an outsider in the late 19th and early 20th Century art scenes.”