#doreashton

[berrycampbell]

ATMOSPHERIC. In the mid-1950s, Yvonne Thomas loosened the Cubist structures she had used earlier, employing more gestural handling to create works that were more expressively free. The personal quality in these paintings was deemed “American” by Stuart Preston in a review of a three-artist show at Tanager Gallery in 1954, in which Thomas was included. Preston singled out the work of Thomas and Miriam Schapiro, calling both “talented” and “comparatively unknown” artists who distilled “non-specific emotional moods in a language of restless brushwork and fitful color.”Also reviewing the show, Dore Ashton observed the “landscape feeling” in Thomas’s oils and commented: “Hers is a delicate, very subtle intonation, adjusted to atmospheric rather than energetic forces in nature. [Yvonne Thomas “Exploration” 1954 oil on linen 40 x 51 1/2 inches] #yvonnethomas #thomas #9thstreetwomen #9thstreetshow #womenartists #1050s #womenofabstractexpressionism #atmospheric #abstraction #oilpaintings #abstractpaintings #expressionism #brushwork #tanagergallery #artreview #doreashton #estaterepresentation #5womenartists #berrycampbell (at Berry Campbell) https://www.instagram.com/p/B8usMUfF_x-/?igshid=2n4q2kzwbl8d

[noguchimuseum]

Art critic and professor Dore Ashton passed away on January 30. A highly respected eyewitness to the flourishing of the loose association of mid-century artists of the New York School, Ashton’s first review of Isamu Noguchi’s sculpture appeared in the French publication, XX Siecle, in 1960. Ashton would continue to follow Noguchi’s career and visit his studio until his death in 1988, ultimately publishing Noguchi East and West in 1992. This book serves as one our bibles here at the museum. 

Above:

Dore Ashton with Noguchi’s Red Untitled (1965-66, red Persian travertine, now in the collection of Honolulu Academy of Arts)

Photograph by Tibor Franyo. 

The Noguchi Museum Archives

[coupermatthew]

#DoreAshton #writing on #AlanDavie in 1983 for #villagemyths #exhibition at @gimpelfils @galeriegimpelmuller #gimpelweitzenhoffer #nyc #newyork. #ashton #mentions #similarities with #philipguston #guston #paintings with the #transformation of the #quotidian in the #studio #forms. I can see great possibilities for a #davie #guston #exhibition with #comparative #forms https://www.instagram.com/p/B8HQukHpOv-/?igshid=rw461u1v0gv2

[berrycampbell]

"Raymond Hendler exhibited a group of abstract paintings that displayed rare high spirits. Using a great deal of fresh white, Hendler devised extremely simple symbols which he dispersed felicitously on his shining grounds. These bright, often linear hieroglyphs serve both as pictorial animators-they often flow in winding patterns or like fluent handwriting-and as references to the plentitude of the artist's existence. Gardens and sky and human joy are read in these exceedingly compressed forms." Dore Ashton 1964 [Raymond Hendler "The General" 1963 acrylic on canvas 52 x 40 inches] #raymondhendler #hendler #hendlermania #philadelphia #action #painting #doreashton #handwriting #patterns #symbols #berrycampbell #gallery #newyork #chelsea #artsdistrict #highline #modern #contemporary #art (at Berry Campbell)