In the elegant galleries of The Frick Collection—a museum housed in the former mansion of industrialist Henry Clay Frick—you will find some of the most exceptional works of Western art. Ranging from the Renaissance through the late nineteenth century, the Collection includes works by such celebrated artists as Bellini, Constable, Corot, Fragonard, Gainsborough, Goya, El Greco, Holbein, Ingres, Manet, Monet, Rembrandt, Renoir, Titian, Turner, Velázquez, Vermeer, and Whistler. In addition to major paintings by these and other masters, the Frick’s galleries contain fine French porcelains, Italian bronzes, sculptures, and period furniture. The permanent collection is further enriched by frequent presentations of special exhibitions. Established by Henry Clay Frick, the museum was greeted with awe when the doors first opened in 1935. It has grown over the years, while maintaining the special ambiance of an art connoisseur’s mansion, and today the Frick is internationally renowned as one of New York’s most remarkable cultural treasures.
On February 1, 1901, nine artists and one businessman founded the Society of Illustrators with the following credo: “The object of the Society shall be to promote generally the art of illustration and to hold exhibitions from time to time.” This simple dictum has held true for over a century. At a time when illustration was in what has been called its Golden Age, the first monthly dinners were attended by prominent artists including Howard Pyle, Maxfield Parish, N.C. Wyeth, Charles Dana Gibson, Frederic Remington, James Montgomery Flagg, Howard Chandler Christy and special guests such as Mark Twain and Andrew Carnegie. Throughout its history, the Society’s members have been involved, either in service to, or, on occasion, in protest of American military activity. During World War I, as part of a public relations effort by the U.S. government, Charles Dana Gibson was called upon to assemble a group of artists who would create posters to generate support for the war. Gibson, who served as president and helped bring the Society to national prominence, was an ardent advocate of the cause. He enlisted Flagg, Wyeth, Joseph Pennell and others—artists who would produce some of the war’s most lasting imagery. In a time before widespread use of journalistic photography, eight Society members were commissioned by the army and sent to France to sketch impressions of war. Following the armistice, the Society operated the School for Disabled Soldiers. During and following the war, members continued to have exhibitions at prominent galleries in New York. Incorporated in the 1920s, the Society welcomed women to full membership, an anomaly to most social and professional organizations of the time. The Roaring Twenties and the decade of the Great Depression were the heyday of the Society’s Illustrators Shows (aka the Girlie Shows). Society members produced these popular entertainments—they wrote the theatrical skits and songs, created the sets, and were the actors, along with their models. Outside talent, such as the Cotton Club Band and Jimmy Durante, were called upon for their professional skills. Invitees to these well attended events included Jazz Age Mayor Jimmy Walker and Mayor Fiorello LaGuardia, who, in 1935, luckily failed to attend the night police raided it due to the risqué nature of the nude dancing. In the early twenties, through the auspices of member Watson Barrett, the Illustrators Show was performed at the Shubert Theater, the success of which prompted the Shubert family to purchase the rights to the skits for their own production of Artists and Models in 1923. By the end of the thirties, those funds allowed the Society to acquire its present headquarters on the Upper East Side. Taking advantage of depressed real estate prices, illustrator Wallace Morgan found the building, which would become home to the Society in August 1939. Member Norman Rockwell’s painting, Dover Coach, became the background for the fourth floor bar. Today it continues this auspicious function at the third floor bar. The contribution of Society members during World War II was intense. They participated in massive poster campaigns, created illustrations from and about scenes of the war in Europe and the Pacific, and participated in a program whereby illustrators visited veterans’ hospitals to sketch the wounded. These portraits were then sent on to the subjects’ families as morale boosters. Putting other skills to work, the Illustrators’ Jazz Band was formed to entertain wounded troops. The 1950s saw the creation of three of the Society’s most enduring institutions. Early in the decade, the first Scholarship Fund was established, a program that has benefited countless illustration students nationwide. In 1958 the Society’s Hall of Fame named Norman Rockwell as its first member. Selected annually by former presidents, this honor has since been bestowed on over 150 artists, living and posthumously, for “distinguished achievement in the art of illustration.” At the decade’s close, partly in reaction to the prevalence of photography in graphic arts competitions and exhibitions, especially those of the Art Directors Club of New York, the Society wanted to refocus attention to the art of illustration and the innovative pictorial responses to shifts in technology and the marketplace. In 1959, members Bob Peak, Bradbury Thompson and Stevan Dohanos, among others, juried the First Annual Exhibition that resulted in a show of 350 original artworks. The first Illustrators Annual book followed. For the 25th edition, the book went to full color and in 2005 the format changed from hard to soft cover. In 2009, the system for gathering entries and the jurying process went fully digital—although the art was open to all media. The Society’s commitment to community involvement has included the participation of Society members, from 1961 to 1965, at the Saturday School of the Warwick Training School for Boys, what had been a “reform school” since the 1930s; outreach programs in conjunction with the Police Athletic League (from 1966), the New York City Parks Department, and the Board of Education (from 1999). Since 1992 the Society has donated more than 10,000 children’s books to shelters and charities citywide. Under the stewardship of then president John Witt, the Museum of American Illustration was established in 1981. Today the Society’s Permanent Collection includes over 2,500 works by such legendary artists as Norman Rockwell, Howard Pyle, N.C. Wyeth, Rockwell Kent, Bob Peak, Bernie Fuchs and Brad Holland. The Society of Illustrators is an organization of many layers, one which provides illustrators a center to discuss, demonstrate and exhibit their work, contributes to future artists and to the community at large, honors its preeminent practitioners, takes a stand on legal and ethical issues affecting the profession—and has a great dining room to boot! As it faces the challenges of a swiftly changing future, the Society will continue to “promote generally the art of illustration,” as its founders dictated.
The Arsenal is a symmetrical brick building with modestly Gothic Revival details, located in Central Park, New York City, centered on 64th Street off Fifth Avenue. Built between 1847 and 1851 as a storehouse for arms and ammunition for the New York State Militia, the building predates the design and construction of Central Park, where only the Blockhouse (1814) is older.The Arsenal was designed by Martin E. Thompson (1786–1877), originally trained as a carpenter, who had been a partner of Ithiel Town and went on to become one of the founders of the National Academy of Design. Thompson's symmetrical structure of brick in English bond, with headers every fifth course, presents a central block in the manner of a fortified gatehouse flanked by half-octagonal towers. The carpentry doorframe speaks of its purpose with an American eagle displayed between stacks of cannonballs over the door, and crossed sabers and stacked pikes represented in flanking panels.The building currently houses the offices of the New York City Department of Parks and Recreation and the Central Park Wildlife Conservation Center, but it has also served as a zoo and housed a portion of the American Museum of Natural History's collections while its permanent structure was being erected. During the course of its lifetime it has also housed a police precinct, a weather bureau, and an art gallery.
Since its inception over twenty years ago, The Howard Greenberg Gallery has built a vast and ever-changing collection of some of the most important photographs in the media. Maintaining diverse and extensive holdings of photographic prints, the Gallery includes such masters as Berenice Abbott, Henri Cartier-Bresson, Andre Kertesz, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. The Gallery's collection also acts as a living history of photography, offering genres and styles spanning from Pictorialism to Modernism, in addition to contemporary photography and images conceived for industry, advertising, and fashion. In addition to photographs, an exceptional range of photography books are available for sale.
Throckmorton Fine Art is an art gallery based in New York. We specialize in vintage and contemporary Latin American photography, Pre-Columbian art and textiles, and archaic Chinese artifacts. In addition, the gallery offers a wide range of curatorial and design installation services.
Henrique Faria opened an art cabinet on Madison Avenue, New York, in 2001, specializing in Latin American geometric abstract artists such as modern masters Jesus Soto, Raul Lozza, Gego, Mathias Goeritz, Mira Freire, Helio Oticia and Alejandro Otero as well as contemprary midcareer artists such as Luis Roldan, Jose Bechara, Eugenio Espinoza and Jose Gabriel Fernandez. In 2007, the gallery decided to venture into the much lesser known world of conceptual practices from Latin America including artists Juan Downey, Claudio Perna, Nicolas Garcia Uriburu, Diego Barbosa, Marta Minujin, Clemente Padin, Guillermo Deisler and Horacio Zabala. In 2009, we opened a new gallery with an exhibition by argentine artist, poet and filmmaker Leandro Katz. The next year, we doubled the size of the gallery which allowed us to continue exhibiting historical Latin American works from the 50's, 60's and the 70's in addition to a program of exhibitions by contemporary artists such as Emilio Chapela, Alessandro Balteo, Miler Lagos, Javier Tellez and Alexander Apostol. Since we opened the gallery, the demand for Latin American works has increased exponetially. Our client base has expanded from mainly from Latin American collectors to international institutions, foundations and museums. Emilia Azcárate Alessandro Balteo Yazbeck Álvaro Barrios Luis F. Benedit Emilio Chapela Carlos Castillo Omar Carreño Eduardo Costa Jaime Davidovich José Gabriel Fernández Nicolás García Uriburu Mercedes Elena González Terence Gower Anna Bella Geiger Carlos Ginzburg Leandro Katz Marta Minujín Luis Molina-Pantin Alejandro Puente Luis Roldán Osvaldo Romberg Eduardo Santiere Pedro Terán Horacio Zabala Yeni & Nan
Visual Arts program at the Americas Society organizes and presents modern, contemporary, colonial, archeological and Pre-Columbian exhibitions. Our projects provoke dialogue and debate about regional modernism and global art through talks, panel discussions, lectures, and academic symposia. Publications expand the scope and impact of our work, and together with our exhibitions and public programs, contribute new cultural developments, analysis, and scholarship to the field.
The Anita Shapolsky Gallery was founded in 1982 in SoHo as Arbitrage Gallery. It is now located in an historic brownstone in the upper east side where an intimate and discreet service is provided to our clients. The gallery specializes in abstract art from the 1950's and 1960's highlighting marginalized second generation, Latin American, African American and women artists. Please look at our website to learn more about each individual artist and email us with any questions you may have. Anita Shapolsky also founded the AS Art Foundation in Jim Thorpe, PA in 1998 which is situated within a historic church. It is a national non-profit organization, 501 (c) 3, which provides educational programs for children, exhibitions of past modern abstract artists and selected contemporary artworks. The foundation strives to enrich the community through the visual and musical arts providing many activities, programs and events for all ages in the community in the summer. To learn more information please visit asartfoundation.org. Open Tuesday thru Friday 11 am - 6 pm and by appointment.
The gallery has been instrumental in developing major museum collections as well as distinguished private collections worldwide. Kapoor Galleries has placed works in The Metropolitan Museum of Art, Los Angeles County Museum of Art, Norton Simon Museum, Art Institute of Chicago, San Diego Museum of Art, and the Virginia Museum of Fine Arts among others. Joined by their son Suneet, who studied Indian Art at School of Oriental and African Studies, the gallery presents an annual Spring Asia Week NY exhibition, showcasing important and beautiful works of art to a focused audience. Together they have developed a very strong network of collectors and curators. Kapoor Galleries alsp presents a more condensed and focused exhibition during the fall, coinciding with the auction schedule. The gallery also participates in the Annual Madison Avenue Gallery Walk, which benefits the Fund for Public Schools, exposing South Asian Art to a different segment of collectors. Kapoor Galleries will be joining fellow Antique Dealers during the Inaugural Art & Antiques Week, from April 25th to May 1st, 2011.
Peter Blum has collaborated with a wide range of artists both as a gallerist and publisher since he began his career in 1971 at Galerie Beyeler in Basel, Switzerland. In 1980, after moving to New York, he founded Peter Blum Edition, where he was among the first print publishers to work with a new generation of European and American artists. Peter Blum Edition has since published important editions by John Baldessari, Louise Bourgeois, Tacita Dean, Eric Fischl, Alfredo Jaar, Alex Katz, Barbara Kruger, Sherrie Levine, Brice Marden, Josef-Felix Müller, James Turrell, and Luc Tuymans, among many others. In 1984, Blum co-founded PARKETT magazine, working directly with international artists and critics to create an engaging forum for contemporary art. From 1993-2012, he opened Peter Blum Gallery at 99 Wooster Street, New York. Over the years this space has hosted important exhibitions- both of recent works and also historical surveys- featuring works by artists such as Alighiero e Boetti, Louise Bourgeois, Francesco Clemente, Helmut Federle, Suzan Frecon, Alberto and Augusto Giacometti, Amar Kanwar, Alex Katz, Kimsooja, Yayoi Kusama, Richard Long, Kazimir Malevich, Agnes Martin, Piet Mondrian, Antoine Pevsner, David Rabinowitch, Ad Reinhardt, Robert Ryman, Albert Steiner, Philip Taaffe, and Ian Wilson. In 2006, Peter Blum opened an additional 3,000 square foot exhibition space in the Chelsea neighborhood of New York, located at 526 West 29 Street. Exhibitions at Peter Blum Chelsea have included works by John Beech, Rosy Keyser, Esther Klas, Chris Marker, Adrian Paci, David Reed, Su-Mei Tse, SUPERFLEX, Robert Zandvliet and John Zurier, among others. Seven years later, in 2013, Peter Blum moved his gallery out of the Chelsea neighborhood and into the Midtown area of New York, located at 20 West 57th Street. The Peter Blum Edition Archive (1980-1994) was the subject of the exhibition Singular Multiples at the Museum of Fine Arts, Houston in 2006, the largest exhibition ever in North America devoted entirely to printmaking. In 2007, a selection of the Peter Blum Edition portfolios formed the exhibition Scenes and Sequences at the Aargauer Kunsthaus in Aarau, Switzerland. As a member of the Art Dealers Association of America (ADAA), Peter Blum Gallery subscribes to the highest standard of connoisseurship, scholarship and ethical practice, and offers an effective and confidential alternative for the resale of important works of art from and on behalf of private individuals and institutions.
About the Gallery David Findlay Jr. Gallery traces its roots to Kansas City, Missouri, where William Wadsworth Findlay opened a gallery in 1870. Among the artists of note, whose works were sold by his firm, were three of America's greatest 19th century artists Frederic Remington, George Caleb Bingham and Charles Russell. The Findlay Galleries prospered in Kansas City through two generations. In 1936 David Findlay Sr., one of the founder's three grandsons, opened a New York City gallery. Many of the most important paintings now in the Amon Carter Museum were acquired from David Findlay Sr., including Remington's great early work, 'A Dash for the Timber'. After working with his father for ten years, David Findlay Jr opened his own gallery in 1982, in the Fuller Building, in order to specialize in American 19th and 20th century paintings and sculpture. In 1988 Lee Findlay Potter joined her father in operating the gallery. In recent years Louis Newman has assumed the role of gallery director in which capacity he has brought over three decades of experience representing both contemporary artists and estates of mid 20th century American artists. With the arrival of the 21st century, David Findlay Jr. moved into larger quarters better to exhibit and represent its growing roster of major American artists. The gallery continues to explore the rich history of American art including artists of the Hudson River School, the American Impressionists, the Ash Can group, the Stieglitz group, the 1930s and 1940s American Modernists, the Indian Space painters, Abstract Expressionists, as well as many important contemporary artists.
On February 1, 1901 a group of nine artists and one advising businessman founded the Society, and by 1939 the Society had moved to its current headquarters in an 1875 carriage house located at 128 East 63rd Street. In 1981 the Museum of American Illustration was established which now features the art of such legendary artists as Rockwell, Pyle, Wyeth, Kent, Peak, Fuchs and Holland, as well as contemporary artists. In 2012 the Society received the Museum of Comic and Cartoon Art, and created the MoCCA gallery in the second floor. Since then the Society has exhibited works by legendary artists Arnold Roth, Bill Griffith, and Harvey Kurtzman. The Society is also proud to now host the annual MoCCA Arts Festival.
On February 1, 1901, nine artists and one businessman founded the Society of Illustrators with the following credo: “The object of the Society shall be to promote generally the art of illustration and to hold exhibitions from time to time.” This simple dictum has held true for over a century. At a time when illustration was in what has been called its Golden Age, the first monthly dinners were attended by prominent artists including Howard Pyle, Maxfield Parish, N.C. Wyeth, Charles Dana Gibson, Frederic Remington, James Montgomery Flagg, Howard Chandler Christy and special guests such as Mark Twain and Andrew Carnegie. Throughout its history, the Society’s members have been involved, either in service to, or, on occasion, in protest of American military activity. During World War I, as part of a public relations effort by the U.S. government, Charles Dana Gibson was called upon to assemble a group of artists who would create posters to generate support for the war. Gibson, who served as president and helped bring the Society to national prominence, was an ardent advocate of the cause. He enlisted Flagg, Wyeth, Joseph Pennell and others—artists who would produce some of the war’s most lasting imagery. In a time before widespread use of journalistic photography, eight Society members were commissioned by the army and sent to France to sketch impressions of war. Following the armistice, the Society operated the School for Disabled Soldiers. During and following the war, members continued to have exhibitions at prominent galleries in New York. Incorporated in the 1920s, the Society welcomed women to full membership, an anomaly to most social and professional organizations of the time. The Roaring Twenties and the decade of the Great Depression were the heyday of the Society’s Illustrators Shows (aka the Girlie Shows). Society members produced these popular entertainments—they wrote the theatrical skits and songs, created the sets, and were the actors, along with their models. Outside talent, such as the Cotton Club Band and Jimmy Durante, were called upon for their professional skills. Invitees to these well attended events included Jazz Age Mayor Jimmy Walker and Mayor Fiorello LaGuardia, who, in 1935, luckily failed to attend the night police raided it due to the risqué nature of the nude dancing. In the early twenties, through the auspices of member Watson Barrett, the Illustrators Show was performed at the Shubert Theater, the success of which prompted the Shubert family to purchase the rights to the skits for their own production of Artists and Models in 1923. By the end of the thirties, those funds allowed the Society to acquire its present headquarters on the Upper East Side. Taking advantage of depressed real estate prices, illustrator Wallace Morgan found the building, which would become home to the Society in August 1939. Member Norman Rockwell’s painting, Dover Coach, became the background for the fourth floor bar. Today it continues this auspicious function at the third floor bar. The contribution of Society members during World War II was intense. They participated in massive poster campaigns, created illustrations from and about scenes of the war in Europe and the Pacific, and participated in a program whereby illustrators visited veterans’ hospitals to sketch the wounded. These portraits were then sent on to the subjects’ families as morale boosters. Putting other skills to work, the Illustrators’ Jazz Band was formed to entertain wounded troops. The 1950s saw the creation of three of the Society’s most enduring institutions. Early in the decade, the first Scholarship Fund was established, a program that has benefited countless illustration students nationwide. In 1958 the Society’s Hall of Fame named Norman Rockwell as its first member. Selected annually by former presidents, this honor has since been bestowed on over 150 artists, living and posthumously, for “distinguished achievement in the art of illustration.” At the decade’s close, partly in reaction to the prevalence of photography in graphic arts competitions and exhibitions, especially those of the Art Directors Club of New York, the Society wanted to refocus attention to the art of illustration and the innovative pictorial responses to shifts in technology and the marketplace. In 1959, members Bob Peak, Bradbury Thompson and Stevan Dohanos, among others, juried the First Annual Exhibition that resulted in a show of 350 original artworks. The first Illustrators Annual book followed. For the 25th edition, the book went to full color and in 2005 the format changed from hard to soft cover. In 2009, the system for gathering entries and the jurying process went fully digital—although the art was open to all media. The Society’s commitment to community involvement has included the participation of Society members, from 1961 to 1965, at the Saturday School of the Warwick Training School for Boys, what had been a “reform school” since the 1930s; outreach programs in conjunction with the Police Athletic League (from 1966), the New York City Parks Department, and the Board of Education (from 1999). Since 1992 the Society has donated more than 10,000 children’s books to shelters and charities citywide. Under the stewardship of then president John Witt, the Museum of American Illustration was established in 1981. Today the Society’s Permanent Collection includes over 2,500 works by such legendary artists as Norman Rockwell, Howard Pyle, N.C. Wyeth, Rockwell Kent, Bob Peak, Bernie Fuchs and Brad Holland. The Society of Illustrators is an organization of many layers, one which provides illustrators a center to discuss, demonstrate and exhibit their work, contributes to future artists and to the community at large, honors its preeminent practitioners, takes a stand on legal and ethical issues affecting the profession—and has a great dining room to boot! As it faces the challenges of a swiftly changing future, the Society will continue to “promote generally the art of illustration,” as its founders dictated.
The Museum of Comic and Cartoon Art Transfers Assets to the Society of Illustrators NEW YORK, NY (August 3, 2012)--The Museum of Comic and Cartoon Art (MoCCA) and the Society of Illustrators have announced plans for MoCCA to transfer its assets to the Society, creating a single cultural institution supporting and celebrating illustration, comics, and animation. This will give MoCCA a long-desired street-level location, in the Society's building at 128 E. 63rd Street. The Society of Illustrators: Tel: (212) 838-2560 Fax: (212) 838-2561 E-Mail: [email protected] Gallery Hours: 10 A.M.– 8 P.M. Tuesday 10 A.M.– 5 P.M. Wednesday - Friday 12 noon– 4 P.M. Saturday Closed most holidays The Hall of Fame Gallery is closed Tuesdays from 6 - 8pm for Sketch Night.
Eykyn Maclean's program of exhibitions is dedicated to presenting the public with scholarly exhibitions, accompanied by catalogues that include essays by the world’s leading art historians. Past exhibition highlights include In Giacometti’s Studio – an Intimate Portrait (essay, Michael Peppiatt), Matisse and the Model (essays, Ann Dumas and Hilary Spurling), Van Gogh in Paris (essays, Ann Dumas and Marina Ferretti Bocquillon), Andy Warhol Flowers (essay, Michael Lobel) and Cy Twombly – Works from the Sonnabend Collection (essays, Annie Cohen-Salal and James Lawrence). In addition to presenting museum-quality exhibitions, Eykyn Maclean focuses on secondary market private sales and holds inventory in works by established and re-emerging 20th century artists. Regularly reviewing clients’ collections, they also advise those who wish to buy or sell discreetly and when appropriate, negotiate consignments to auction. Christopher Eykyn and Nicholas Maclean founded the gallery in 2006 after a combined 29 years at Christie’s, where they were co-heads of the Impressionist and Modern Art department.
Henrique Faria opened an art cabinet on Madison Avenue, New York, in 2001, specializing in Latin American geometric abstract artists such as modern masters Jesus Soto, Raul Lozza, Gego, Mathias Goeritz, Mira Freire, Helio Oticia and Alejandro Otero as well as contemprary midcareer artists such as Luis Roldan, Jose Bechara, Eugenio Espinoza and Jose Gabriel Fernandez. In 2007, the gallery decided to venture into the much lesser known world of conceptual practices from Latin America including artists Juan Downey, Claudio Perna, Nicolas Garcia Uriburu, Diego Barbosa, Marta Minujin, Clemente Padin, Guillermo Deisler and Horacio Zabala. In 2009, we opened a new gallery with an exhibition by argentine artist, poet and filmmaker Leandro Katz. The next year, we doubled the size of the gallery which allowed us to continue exhibiting historical Latin American works from the 50's, 60's and the 70's in addition to a program of exhibitions by contemporary artists such as Emilio Chapela, Alessandro Balteo, Miler Lagos, Javier Tellez and Alexander Apostol. Since we opened the gallery, the demand for Latin American works has increased exponetially. Our client base has expanded from mainly from Latin American collectors to international institutions, foundations and museums. Emilia Azcárate Alessandro Balteo Yazbeck Álvaro Barrios Luis F. Benedit Emilio Chapela Carlos Castillo Omar Carreño Eduardo Costa Jaime Davidovich José Gabriel Fernández Nicolás García Uriburu Mercedes Elena González Terence Gower Anna Bella Geiger Carlos Ginzburg Leandro Katz Marta Minujín Luis Molina-Pantin Alejandro Puente Luis Roldán Osvaldo Romberg Eduardo Santiere Pedro Terán Horacio Zabala Yeni & Nan
Since its inception over twenty years ago, The Howard Greenberg Gallery has built a vast and ever-changing collection of some of the most important photographs in the media. Maintaining diverse and extensive holdings of photographic prints, the Gallery includes such masters as Berenice Abbott, Henri Cartier-Bresson, Andre Kertesz, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. The Gallery's collection also acts as a living history of photography, offering genres and styles spanning from Pictorialism to Modernism, in addition to contemporary photography and images conceived for industry, advertising, and fashion. In addition to photographs, an exceptional range of photography books are available for sale.
The Anita Shapolsky Gallery was founded in 1982 in SoHo as Arbitrage Gallery. It is now located in an historic brownstone in the upper east side where an intimate and discreet service is provided to our clients. The gallery specializes in abstract art from the 1950's and 1960's highlighting marginalized second generation, Latin American, African American and women artists. Please look at our website to learn more about each individual artist and email us with any questions you may have. Anita Shapolsky also founded the AS Art Foundation in Jim Thorpe, PA in 1998 which is situated within a historic church. It is a national non-profit organization, 501 (c) 3, which provides educational programs for children, exhibitions of past modern abstract artists and selected contemporary artworks. The foundation strives to enrich the community through the visual and musical arts providing many activities, programs and events for all ages in the community in the summer. To learn more information please visit asartfoundation.org. Open Tuesday thru Friday 11 am - 6 pm and by appointment.
The Hunter College Art Galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, social awareness, and experimental methodology. The Bertha and Karl Leubsdorf Art Gallery located in the West Building of the main campus at 68th Street and Lexington Avenue focuses on historical and scholarly exhibitions and the 205 Hudson Street Gallery is dedicated to presenting exhibitions that examine the impact of and the critical issues around contemporary art. Each semester, the 205 Hudson Street Gallery also hosts the MFA program’s thesis exhibitions. The Hunter College Art Galleries present exhibitions representing the interests and diversity of the faculty and student body. Exploring a multitude of periods, media, themes and approaches, the shows support the intellectual pursuits of Hunter College's academic community. Follow us: Instagram - @HunterCollegeArtGalleries Twitter - @HCArtGalleries
Peter Blum has collaborated with a wide range of artists both as a gallerist and publisher since he began his career in 1971 at Galerie Beyeler in Basel, Switzerland. In 1980, after moving to New York, he founded Peter Blum Edition, where he was among the first print publishers to work with a new generation of European and American artists. Peter Blum Edition has since published important editions by John Baldessari, Louise Bourgeois, Tacita Dean, Eric Fischl, Alfredo Jaar, Alex Katz, Barbara Kruger, Sherrie Levine, Brice Marden, Josef-Felix Müller, James Turrell, and Luc Tuymans, among many others. In 1984, Blum co-founded PARKETT magazine, working directly with international artists and critics to create an engaging forum for contemporary art. From 1993-2012, he opened Peter Blum Gallery at 99 Wooster Street, New York. Over the years this space has hosted important exhibitions- both of recent works and also historical surveys- featuring works by artists such as Alighiero e Boetti, Louise Bourgeois, Francesco Clemente, Helmut Federle, Suzan Frecon, Alberto and Augusto Giacometti, Amar Kanwar, Alex Katz, Kimsooja, Yayoi Kusama, Richard Long, Kazimir Malevich, Agnes Martin, Piet Mondrian, Antoine Pevsner, David Rabinowitch, Ad Reinhardt, Robert Ryman, Albert Steiner, Philip Taaffe, and Ian Wilson. In 2006, Peter Blum opened an additional 3,000 square foot exhibition space in the Chelsea neighborhood of New York, located at 526 West 29 Street. Exhibitions at Peter Blum Chelsea have included works by John Beech, Rosy Keyser, Esther Klas, Chris Marker, Adrian Paci, David Reed, Su-Mei Tse, SUPERFLEX, Robert Zandvliet and John Zurier, among others. Seven years later, in 2013, Peter Blum moved his gallery out of the Chelsea neighborhood and into the Midtown area of New York, located at 20 West 57th Street. The Peter Blum Edition Archive (1980-1994) was the subject of the exhibition Singular Multiples at the Museum of Fine Arts, Houston in 2006, the largest exhibition ever in North America devoted entirely to printmaking. In 2007, a selection of the Peter Blum Edition portfolios formed the exhibition Scenes and Sequences at the Aargauer Kunsthaus in Aarau, Switzerland. As a member of the Art Dealers Association of America (ADAA), Peter Blum Gallery subscribes to the highest standard of connoisseurship, scholarship and ethical practice, and offers an effective and confidential alternative for the resale of important works of art from and on behalf of private individuals and institutions.
In the elegant galleries of The Frick Collection—a museum housed in the former mansion of industrialist Henry Clay Frick—you will find some of the most exceptional works of Western art. Ranging from the Renaissance through the late nineteenth century, the Collection includes works by such celebrated artists as Bellini, Constable, Corot, Fragonard, Gainsborough, Goya, El Greco, Holbein, Ingres, Manet, Monet, Rembrandt, Renoir, Titian, Turner, Velázquez, Vermeer, and Whistler. In addition to major paintings by these and other masters, the Frick’s galleries contain fine French porcelains, Italian bronzes, sculptures, and period furniture. The permanent collection is further enriched by frequent presentations of special exhibitions. Established by Henry Clay Frick, the museum was greeted with awe when the doors first opened in 1935. It has grown over the years, while maintaining the special ambiance of an art connoisseur’s mansion, and today the Frick is internationally renowned as one of New York’s most remarkable cultural treasures.
The Sony Wonder Technology Lab (SWTL) is a FREE four-story, interactive technology and entertainment museum for all ages. Located in mid-town Manhattan, SWTL inspires creativity in a high-quality, engaging and family friendly learning environment. Admission Due to the popularity of Sony Wonder Technology Lab, reservations are highly recommended for all visitors. Reservations guarantee admission and can only be booked a minimum of seven days and up to three months prior to your desired visitation day. We do not accept same day reservations. Visitors without reservations may obtain same day tickets for Sony Wonder Technology Lab, but please NOTE that there are only a certain number of tickets set aside for walk-up visitors each day. These tickets are distributed on a first come, first served basis beginning at 9:30 a.m., Tuesday through Saturday.
Located directly across from the Sculpture Garden of the Museum of Modern Art, RARE will present a distinctive curatorial program, featuring unique items selected from a diverse range of first editions, archival material, fine art, photography, and decorative arts from the late 19th century to the present.