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New York Art Collector is a blog devoted to anyone who is passionate about art. I want to share my appreciation of the beauty of art with all who will see it. “Discovering Excellence” is my aim. People may read the blog at any time to view artistic images and learn more about them. Collecting is the road to Happiness.
Showing posts with label Albert Kotin. Show all posts
Showing posts with label Albert Kotin. Show all posts
Sunday, October 9, 2016
Sunday, July 17, 2016
Abstract Expressionism and New York City
Abstract Expressionism marked the beginning of New York City’s influence as the center of the western art world.
The world of the Abstract Expressionist artists was firmly rooted in Lower Manhattan.
A walk along 8th Street would take you from the Waldorf Cafeteria, where penniless artists made “tomato soup” from the free hot water and ketchup;
past the Hans Hofmann School of Fine artists founded by the painter of the same name;
to The Club,
a loft where lectures and heated arguments about art carried on late into the night.
Jackson Pollock’s studio was on East 8th Street,
Willem de Kooning’s Philip Guston’s, Albert Kotin's and most other pioneer New York School artists' studios were on East 10th.
Most nights the "down town artists" could be found at the Cedar Street Tavern on University Place.
Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates,
it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism.
Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.
Paintings by the artists of the 9th St Show
Marika Herskovic/Virtual Gallery
Abstract Expressionism and New York City
The world of the Abstract Expressionist artists was firmly rooted in Lower Manhattan.
A walk along 8th Street would take you from the Waldorf Cafeteria, where penniless artists made “tomato soup” from the free hot water and ketchup;
past the Hans Hofmann School of Fine artists founded by the painter of the same name;
to The Club,
a loft where lectures and heated arguments about art carried on late into the night.
Jackson Pollock’s studio was on East 8th Street,
Willem de Kooning’s Philip Guston’s, Albert Kotin's and most other pioneer New York School artists' studios were on East 10th.
Most nights the "down town artists" could be found at the Cedar Street Tavern on University Place.
Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates,
it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism.
Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.
Paintings by the artists of the 9th St Show
Virtual Gallery
Saturday, July 2, 2016
Fine Art Books ~New York School Press
The New York School Press publishing company is dedicated to the production of very fine art books. It is concerned primarily with the documentation of the unique American art of the postwar period. The books are printed by Cantz in Germany. Every effort is made to achieve exceptional quality and enduring value. The books are lavishly illustrated with hundreds of 9 x 12 inch full page color reproductions on acid free double coated heavy paper stock. The bindings are library quality.
"Almost Perfect-Very Important": Amazon.co
"Best and most Complete Study of The NY School to date!": ArtBusines.com opinion
Artchive.com opinion
CHOICE CURRENT REVIEWS FOR ACADEMIC LIBRARIES, February 2001: "The book is unique; it can be used as a reference for artists' biographies, for exhibition documentation, or as the history of a specific artistic movement. Highly recommended. General readers; undergraduates through faculty." Ed. by Marika Herskovic, ISBN: 0967799406 New York School Press, 2000. Hardcover with jacket, 12 x 9 inches, 176 full-page color art reproductions, printed in Germany, 393 pages, indexes. 265 artists are documented.
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OUTSTANDING ACADEMIC TITLE ~ CHOICE, 2003 "This excellent publication builds on the earlier [above] publication.
It has broadened the scope to include artists from throughout the US, rectified...omission of African American artists
...and concentrated on 88 artists...excellent layout and superb photographs.
It has broadened the scope to include artists from throughout the US, rectified...omission of African American artists
...and concentrated on 88 artists...excellent layout and superb photographs.
"Highly recommended"
~ CHOICE,
CURRENT REVIEWS FOR ACADEMIC LIBRARIES July/August 2003.
2005 WRITERS NOTES BOOK AWARD, April 19, 2005
Beyond the names you'll immediately recognize (Pollack, De Kooning, Gorky, etc.) this alphabetically arranged set takes a fair and complete look,
including commentary from the artists.... We like Kline's ideas on size and space and also when De Kooning says, "spiritually I am wherever my spirit allows me to be."
American Abstract should be a fixture in libraries and the homes of the lovers of the form."
"Researchers will seek out this well designed selection."
~Library Journal August 2003.
Ed. by Marika Herskovic, ISBN: 0967799414. New York School Press 2003;Hardcover, 12x9 inches,372 pages, 176 full page color reproductions, printed in Germany.
The book can be acquired at:
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CHOICE CURRENT REVIEWS FOR ACADEMIC LIBRARIES, January 10, 2010
"Highly recommended. Libraries supporting both studio and art history programs at the lower undergraduate and above; general readers." ~ CHOICE
Readers' opinion:
It is an important contribution to the study of Abstract Expressionism. 58 painters and sculptors are featured. Each of these artists have 2 works shown (full page) one abstract and one figurative work and an artist's statement. The reproductions are excellent. There is also a Bio, and a listing of solo exhibitions and group exhibitions for each of these artists. An amazing amount of research and love went into this new production of the New York and Californian Schools abstract and figurative expressionism. You can see that these schools were actually a bonafide community of artists. This 254 page book was sumptuously printed and has a 12 x 9 1/2 inch format. The book has a black cloth binding and a handsome dust jacket with ALL the names of the listed artists. This platinum dust-jacket has black and red lettering which pops-out and is a stunning tribute to the artists. Ed. by Marika Herskovic, ISBN: 0967799422 New York School Press, 2009. Hardcover with jacket, 12 x 9 inches, 116 full-page color art reproductions, printed in Germany,
254 pages, indexes. 58 artists are documented.
The book can be acquired at
The book will demonstrates through 126 full page color reproductions that Albert Kotin belonged to the early generation of New York School Abstract Expressionist artists.
The book will demonstrates through 126 full page color reproductions that Albert Kotin belonged to the early generation of New York School Abstract Expressionist artists.
All the books by Marika Herskovic/New York School Press are available at:
amazon.com
Thursday, June 30, 2016
“Discovering Excellence!” An enigma for life.
Post-War II Abstract Expressionist Artists in New York City marked the beginning of New York City’s influence as the center of the western art world.
The world of the Abstract Expressionist artists was firmly rooted in Lower Manhattan.
A walk along 8th Street would take you from the Waldorf Cafeteria, where penniless artists made “tomato soup” from the free hot water and ketchup;
past the Hans Hofmann School of Fine artists founded by the painter of the same name;
to
The Club, a loft where lectures and heated arguments about art carried on late into the night.Jackson Pollock’s studio was on East 8th Street,
Willem de Kooning’s Philip Guston’s, Albert Kotin's and most other pioneer New York School artists' studios were on East 10th.
Most nights the "down town artists" could be found at the Cedar Street Tavern on University Place.
Half a century latter I am still inspired by the universality of artistic impulse.
Albert Kotin, Predators, 1951. Oil and enamel on canvas, 36 x 28 inches.
Exhibited in the famous "9th St." Exhibition, 1951.
Albert Kotin, Predators, 1951. Oil and enamel on canvas, 36 x 28 inches.Exhibited in the famous "9th St." Exhibition, 1951.
Nicolas Carone, Untitled, 1957. Oil on canvas, 60 x 74 inches.
Alfonso Ossorio, SPLIT, 1961. Plastic and various materials on composition board, 37 1/2 x 23 1/2 inches
Leon Golub, The Orator IV, 1962. Oil on canvas, 37 x 30 3/4 inches
Albert Kotin, Testigos 1968, Quadriptych. Oil on canvas, 104 x 63 inches
Jules Olitski, Divine Hostage, 1973 Acrylic on canvas, 65 x 48 inches
Conrad Marca-Relli, Untitled, 1973. Collage and newspaper on canvas, 20 ½ x 27 ½ inches
Perle Fine, Blue-Chips Blue #1, c.1974. Acrylic polymer emulsion wood collage on masonite, 48 7/8 x 48 7/8 inches
Michael Loew, Counterpoint in Reds and Blues, 1982. Acrylic and watercolor on linen, 66 x 72 inches
Robert Nathans, The Distractive Character, 1986. Oil on wood and tree stumps, 36 x 14 inches
Stanley William Hayter, Untitled, 1986. Acrylic on canvas, 63.75 x 51.13 inches
Jeff Koons Reindeer paddle. Deutsche Guggenheim USA, 2000, printed and painted plywood, enameled aluminum, string 11 w x 2.25 d x 15 h inches. This work is from the edition of 900. Signed with impressed marks to reverse
Anki King, Broken Mannequin, 2002. Oil on canvas, 39 x 36 inches 
Damien Hirst, For the Love of God, 2009; Screenprint in colors with diamond dust (framed); Signed and numbered 302/1000; 12 3/4" x 9 inches 
Artist Engels, When God Meets God, 2011. Oil on Canvas and Poster Board with Paper, Frame, Wood, Staples, Wire, Nail, Screws,and Bamboo
Anki King, Fall, 2012. Oil on canvas, 53 x 74 inches
The desire to discover excellence results in a perpetual agony that occasionally is compensated with ecstasy.
Monday, February 8, 2016
Art and Individuality
“What the superior man seeks is in himself;
what the small man seeks is in
others.” ― Confucius
Following World War II the relevance of
individual identity in art has been
disregarded. This blog intends to shed light on
the continued expression of individuality by
artists.
[All modern artists have] "the desire to give to
the object a functional beyond its naturalistic
aspect to free it from its accidental
surroundings, to develop and organize it within
the frame of the picture into an emotional
potential. In other words, the object is
elevated to a symbol."
 |
| Karl Zerbe, Self Portrait with Clown, 1945. Encaustic, 19 1/2 x 15 1/4 inches. |
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| Karl Zerbe, THE MASK OF HER FACE, 1948. Tempera on board, 20 x 25 3/4 inches. |
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| Karl Zerbe, Cyprus II, 1955. Encaustic on board, 39 x 24 inches. |
Balcomb Greene (1904 – 1990)
"I do not believe that art should be explicit," .... It should be suggestive and ambiguous so that the viewer has to enter in."
 |
| Balcomb Greene, Gertrude III, 1958. Oil on canvas, 62 1/4 x 50 inches. |
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| Balcomb Greene, Two figures,1970. Oil on canvas, 56 x 46 inches. |
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| Balcomb Greene, Shadows and Sea, 1970. Oil on canvas, 61 x 55 inches. |
Albert Kotin (1907 – 1980)
"As long as there are people such as Al Kotin,
there is no danger to art." - Alexander Calder
 |
| Albert Kotin, Untitled, 1950. Oil on canvas, 36 x 30 inches. |
 |
| Albert Kotin, Untitled, 1954. Oil on canvas, 70 x 58 inches |
 |
| Albert Kotin, Party IV, 1964. Oil on canvas, 36 x 30 inches. |
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| Albert Kotin, Testigos, 1968, Quadriptych. Oil on canvas, 104 x 63 inches. |
 |
| Albert Kotin, Modesty... The Scientist, 1968, Oil on canvas, 39 3/4 x 48 inches. |
"For myself I venerate all of that which I am
forced to call , for the sake of clarity, the past,
my own Western Heritage and the even older
and brilliant past of the Far East and Near East
and their multiple cultures. In this way I feel I
pay homage to the Titan's, both anonymous
and known."
 |
| Ezio Martinelli, Untitled (Abstraction), 1949. Oil on canvas, 71 x 39 inches. |
 |
| Ezio Martinelli, Untitled, 1950. Oil on canvas, 79 1/2 x 23 1/2 inches. |
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| Ezio Martinelli, Grief, 1951. Oil on canvas, 60 x 25 inches. |
 |
| Leon Golub, The Orator IV, 1962. Oil on canvas, 37 x 30 3/4 inches |
Robert Nathans (1955 – 2016)
"I bring all my memories with me as I stand in
front of my canvases. Here my intuition comes
into play. It will sometimes take me months of
working. Then, somewhere in this process of
painting and observing. I would inextricably
disappear. Unaware of body, time, and space
when I become painting."
 |
| Robert Nathans, The Distractive Character, 1986. Oil on wood and tree stumps, 36 x 14 inches. |
Anki King (1970 – )
"Emotions are the base of the work I make and
I use paint and brushstrokes to express what I
want to say, and the feeling I wish to convey.
Painting to me is a collaborative process. Oil
paint is a live medium and if you do something
with it, it does something back that you again
can respond to; it is a communication. Every
work I create contains figures or figurative
elements. I always enjoyed the figure and I
have a love relationship with it as form. It is
also the most direct way I can convey my own
experience and it is ultimately this experience
I create out of."
 |
| Anki King, Broken Mannequin, 2002. Oil on canvas, 39 x 36 inches. |
 |
| Anki King, Fall, 2012. Oil on canvas, 54 x 74 inches. |
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