All Photos By Gail
Made from redwood and pine found in the artists Northern California backyard, Jeremy Anderson’s Riverrun (1965 ) was inspired by his fascination with intestinal forms, medical school models, and the elongated figures in old comic books like Plastic Man (1941 – 1956) and Powerhouse Pepper (1942 – 1948).
Continue reading Modern Art Monday Presents: Jeremy Anderson, Riverrun
Photos By Gail
Lucas Samaras has never been one to serve a straightforward meal — and with Dinner #15 (1965), he transforms the act of dining into something deeply psychological, uncomfortably tactile, and undeniably unforgettable. This sculptural work from his Dinner Series isn’t just a visual feast — it’s a surreal course in tension and temptation.
Continue reading Modern Art Monday Presents: Lucas Samaras, Dinner #15
Photos By Gail
Kate Millett (1934 – 2017) was an American feminist writer, artist, and activist known for her contributions to the feminist movement in the 1960s and 1970s. While she was primarily recognized for her written works, such as her book Sexual Politics, her body of work contains a few whimsical sculptures.
Continue reading Modern Art Monday Presents: Piano and Stool By Kate Millett
Photo By Gail
In his writing, teaching, and powerful abstract works, Hans Hofmann advocated for what he called the dynamic “push and pull” of color, light, and shape as the best means for achieving a sense of space, movement, and emotion in painting. Filled with bold strokes the in some cases join to form larger, irregular blocks of color, Deep Within the Ravine (1965) features a pool of deep blue-black that appears compressed by passages of green and orange around it. Exhibiting Hofmann’s interest in complementary hues (blue / orange and green / red) for their inherent contrast, the painting is part of The Renate Series, a group of nine compositions he created as a tribute to his wife in 1965.
Photographed in the Metropolitan Museum of Art in NYC.
Photo By Gail
For more than sixty years, Alex Katz has created paintings distinguished by their bold colors, sharp outlines, and subjects taken from his daily life. By simplifying facial features and using flat, unmixed colors in works such as Edwin, Blue Series (1965), Katz emphasizes the form of the painting above its content. Here, he has cropped the left side of the body, asserting the figure as a subject of abstraction. The painting depicts Edwin Denby, a modernist poet and dance critic as well as a close friend of artists including Katz, Willem de Kooning, Arshile Gorky, and Franz Kline. Katz credits Denby for his appreciation of abstraction. Refusing to reveal his subjects’ personalities or interior life, Katz’s paintings focus instead on technique and visual invention.
Photographed in the Whitney Museum in Manhattan.