Allan Stone Gallery, aka Allan Stone Projects, is pleased to announce its participation in Art Miami, December 3-8, 2013, Booth C26, with a program that illustrates artistic kinships and visual legacies by juxtaposing mid-level Contemporary and established Modern and Post-War artists. These works will be grouped by themes consistent with the gallery’s 50-plus year history: Abstraction, Assemblage, Pop and Funk, Still Life/California School, and Mysticism in Geometry.
The anchor of the booth will be Alfred Leslie’s For A. S. Neill (1961), pictured above. This eight foot canvas from the Allan Stone Collection marks a rare opportunity to acquire the largest work by Alfred Leslie to come to market in at least three years, from his most revered abstract period. This particular work epitomizes what Allan Stone referred to as a “classic dialogue” in Leslie’s work, with a contrast between geometrical compartments and interloping splashes of paint and color. Other established Post-War works available will include a Franz Kline work on paper and a 1950 painting on panel, a 1957-58 painting by Willem de Kooning, an early 1940s work on paper by Arshile Gorky and a rare late 1950s work on paper by John Chamberlain. These will be in discourse with such Contemporary abstractionists as Robert Baribeau, Robert S. Neuman, and Jack Whitten.
A small, colorful 1979 John Chamberlain sculpture bridges from abstraction to assemblage. An intimate and captivating Joseph Cornell, ca. 1955, depicting a mother-of-pearl bird encased inside a glitter-lined pocket watch will be displayed alongside a similarly scaled Arman of paint tubes suspended in resin. Carrying the assemblage “torch” will be box constructions by Barry Cohen and Wayne Nowack, as well as a trio of sculptures by a mythic outsider, the Philadelphia Wireman.
Pop and Funk
Andy Warhol and Robert Arneson, the two leaders of Pop Art and Funk Art respectively, set the stage in this theme with two quintessential examples. Robert Arneson elevated clay as a medium and changed the definition of art with often facetious renditions of household wares, such as the sexualized and phallic teapot on view, entitled Golden Rod (1969). Direct Contemporary descendants of Arneson’s whit and whimsy in clay will also be on view by Dennis Clive and David Gilhooly. These Funk Artists’ use of parody and democratized sources are paralleled by Pop Artist Andy Warhol’s Superman (from Myths) (1981), a work significant not only as an iconic representation of Warhol’s fascination with and fetishizing of popular culture, but as one from a subset of only twelve “hors commerce” prints that were published. Fellow Pop strategist Don Nice lights proverbial sparks opposite the “man of steel” with his 1971 watercolor of a ray gun.
Still Life / California School
Wayne Thiebaud and Richard Hickam have each tread boundaries at the edge of Pop Art, reveling in American consumer imagery as a source for their still life paintings, but creating methods that defy easy categorization. Highlights by Thiebaud will include a marvelous pastel on lithograph of bow ties, cake slices in pencil and oil on paper, and a highly important and exceptionally early canvas Bar-B-Que Beef from 1961, the year he shifted to his mature style and subject matter. Ohio native Richard Hickam joins the conversation with still lifes of more vivid color and gesture than Thiebaud, but with a use of subject and play directly descendent from that Californian elder.
Mysticism in Geometry
This theme is represented by Charmion von Wiegand and Kazuko Inoue, two female artists in the booth, the former a Euro-centric disciple of Mondrian and the latter a Japanese American minimal painter of contemplative and sensual monochrome grids. These two artists bring fresh meditations on the poignancy of geometric resonance, von Wiegand with a 1955 collage based on the Golden Section and Inoue with a small painting from 2010, a densely layered glowing blue grid of deceptive simplicity.