Allison Stabile, president of the Allan Stone Gallery, admired for its eclectic approach and early advocacy of pivotal artists of the 20th century, announced today the gallery will relocate from its address at 5 East 82nd Street and re-launch in November 2013 at a downtown location with a redefined structure, mission and program.
Under the new name Allan Stone Projects, the 53-year old business will be located at 535 West 22nd Street, 3rd Floor, in the West Chelsea arts district of Manhattan. Associate Director Bo Joseph will play a key role in the gallery’s transition. The new location will be open to visitors by appointment. Its first exhibition will be a kabinet devoted to Abstract Expressionist works on paper from the New York School, drawn from the gallery’s collection.
Founded in 1960 by visionary collector and dealer Allan Stone (1932 – 2006), the gallery has operated for over five decades with a dual program in primary and secondary market material. During his lifetime, Stone collected and presented exhibitions of historically significant art and artifacts spanning disciplines and mediums, and styles ranging from representation to abstraction. Stone was an expert on the work of the Abstract Expressionists, and the gallery’s inventory grew abundant in works by Willem de Kooning, Arshile Gorky, Barnett Newman, and Franz Kline, as well as in its holdings in the work of such celebrated artists as John Graham, Joseph Cornell, John Chamberlain, Wayne Thiebaud, César Baldaccini, and Arman. At the same time, Stone represented, promoted and actively collected the work of a younger generation of living artists, including Robert S. Neuman, Robert Arneson, Dennis Clive, Jack Whitten, Robert Baribeau, James Grashow, Robert Mallary, and Richard Hickam, among others, whose aesthetic tendencies suggest connections to the historical holdings of his gallery’s collection. Today the gallery’s inventory comprises thousands of objects and stands as a truly unique amalgam in which major tendencies in modern art can be traced across time and breakthroughs to the present day.
In its new home Allan Stone Projects will operate as a private gallery devoted to scholarship in and secondary market sales of its vast collection of modern masterworks, contemporary art, tribal and folk art, Americana, and significant decorative arts and industrial design. In addition to private and auction sales, Allan Stone Projects will focus on curating small exhibitions of works drawn from its extensive holdings; producing original scholarship and key publications; advising collectors; and participating in art fairs internationally.
Allan Stone Projects also will work collaboratively with peer galleries, auction houses, museums, and publishers in all of its areas of focus. On November 15, 2013, for example, Sotheby’s will present "The Collection of Allan Stone: African, Oceanic and Indonesian Art - Volume One.” A second sale of equal size, “The Collection of Allan Stone: African, Pre-Columbian, and Native American Art - Volume Two,” will be held in November 2014. Together these sales represent the most significant African and Oceanic Art collection to be offered in New York since the Helena Rubinstein auction in 1966.
Bo Joseph noted that such collaborations will enable Allan Stone Projects to advocate the work of the living artists who were represented by the gallery for many years. “The Stone inventory includes outstanding material by the artists with whom the gallery has worked. In the future we look forward to placing their art in historical context through exhibitions, spotlight publications, and special showcases at key art fairs, and to educating curators, collectors, and the public about the place these artists have in the larger scheme of artistic production.”
“The Allan Stone Gallery has occupied a truly unique place in the history of the art market for decades,” said Allison Stabile, one of Allan Stone’s six daughters. “The business developed as a vital hub of activity and, like my father, defied conventions by embracing true diversity in art. He tirelessly sought fresh avenues of thought and experience. His appetite for momentum and change was legendary. The gallery’s transition to a new phase is motivated by that same appetite. We look forward to the flexibility and energy change will bring.”