Anita Shapolsky Gallery
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artists

Rodolfo Abularach
Peter Agostini
Karel Appel
Thomas Beckman
Seymour Boardman
Ilya Bolotowsky
Ernest Briggs
Lawrence Calcagno
Nicolas Carone
Perez Celis
Bruce Checefsky
Nassos Daphnis
Haydn Davies
Lynne Drexler
Friedel Dzubas
Amaranth Ehrenhalt
Claire Falkenstein
Agustin Fernandez
Joseph Fiore
John Hultberg
Carol Hunt
Buffie Johnson
Albert Kotin
Ibram Lassaw
Jenny Lee
Martee Levi
Michael Loew
William Manning
Jeanne Miles
Leonard Nelson
Louise Nevelson
Tom Nonn
Jeanne Reynal
Misha Reznikoff
Richards Ruben
William Saroyan
William Scharf
Ethel Schwabacher
Thomas Sills
Nancy Steinson
Antoni Tapies
Yvonne Thomas
Erik Van der Grijn
Wilfrid Zogbaum
ODDS & ENDS

Nansy Steinson
Numina, 1996
Steel with patina
, 54" x 18" x 4"
 
Friedel Dzubas
Untitled (detail), 1950's/60's
Oil on canvas, 88" x 48"
 
William Manning
Untitled, 1965
Oil on canvas, 50 1/2" x 40 1/2"
 
Michel Kanter
Facade, 1982
Clay, 14 1/2" x 18 1/2" x 3"
 
Seymour Boardman
Untitled, 1971
Acrylic on canvas, 17" x 21"
 
Lindsey Nobel
American Flight ** NY JFK Dept. 10:30, Arrival SF 3:30 PM, 1998
Acrylic and encaustic on wood,
12" x 24"
 
Ernest Briggs
Untitled, 6-27, 1961
Oil on canvas, 51" x 41"
 
Ernest Briggs
Untitled, December 1958
Oil on canvas, 94" x 69 1/2"
 
Seymour Boardman
Untitled, 1955
Oil on canvas, 56" x 40"
 
Seymour Boardman
Totem, 1959
Oil on canvas, 72 1/2" x 38 1/2"




September 13th - through December 3rd, 2005

The classical world, from Egyptian to Greeks and Romans, focused on conveying the bodies’ plasticity through harmonious beauty, their movement and way of art expanding into space. Post-medieval modern artists had emphasized the visible in painting, sculpture and even architecture.

In the twentieth century artists questioned both procedures: Duchamp with his critique of what he called “retinal art,” Picasso choosing “black art,” and rejecting the tradition of Western sculpture.

The abstract expressionists live with the tension of a nameless desire, a spirituality that can be illusionary or radically dynamic. To abstract something is to remove it from concrete experience, thus creating the “invisible in the visible.”

In this increasingly cyber and dot.com world Abstract Expressionism’s startlingly direct and personal ways of communicating with the viewer means more then moving paint around.

Abstract sculpture also concentrated on seeking the individual and spontaneous touch and expressing the inner-self, turning from realism to the metaphysical – therefore invisible. The sculptors of the Abstract Expressionist era and their followers went against the tradition of carefully constructed sculpture.

Gallery Hours: Tue – Sat, 11 – 6 pm
For more information, please contact Anita Shapolsky Gallery
212 452 1094
or ashapolsky@nyc.rr.com

Ernest Briggs
Untitled, 1950
Oil on canvas, 72" x 68"
Lindsey Nobel
People Or Not, 1998
Acrylic on wood, 24" x 24" 1 1/2"
Seymour Boardman
April 3 (detail), 1960
Oil on canvas, 54" x 48"
Lawrence Calcagno
Blue Land , 1962
Oil on canvas, 28" x 34"
   
Clement Meadmore
SplitRing 2D, 1972
Silk Screen, 33" x 29"
Michel Kenter
Cube, 1981
Bronze, 11 1/2" x 13 1/4" x 2"
Pavel Kraus
Levitation, 2005
Mixed Media
Ernest Briggs
Untitled, 1958
Oil on canvas, 45 1/2" x 34"
Ernest Briggs
Untitled, 6-27, 1961
Oil on canvas, 51" x 41"
Lawrence Calcagno
Blue Painting, 1975
Acrylic on canvas, 52" x 48"
   
Nancy Steinson
Quanta Mare, 2001
Steel, 15" x 40" x 4"
William Manning
D-19-38, 1974
Acrylic on canvas, 42 1/2" x 42 1/2"
Lawrence Calcagno
Red V, 1958-61
Oil on canvas, 30" x 25"
Lawrence Calcagno
Dark Mesa #8, 1956
Oil on plywood, 40" x 32"
Seymour Boardman
Untitled, 2001
Oil on canvas, 24" x 32"
Lindsey Nobel
Living Waves, 1996
Acrylic and pen on canvas, 24" x 30"
   
 
Lindsey Nobel
Internet III, 1996
Acrylic, pen and watercolor on canvas, 28" x 24"