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Lee Krasner and Norman Lewis Focus of New Exhibition, Opening 9/12 at The Jewish Museum

Related: Lee Krasner, Norman Lewis, The Jewish Museum, From the Margins
Lee Krasner and Norman Lewis Focus of New Exhibition, Opening 9/12 at The Jewish Museum

From September 12, 2014 through February 1, 2015, the Jewish Museum will present From the Margins: Lee Krasner I Norman Lewis, 1945-1952. This survey features key 1940s and 1950s works by two powerful painters during a transformative period in American art when both artists were experimenting with innovative approaches joining abstraction and culturally-specific references. Lee Krasner (1908-1984) and Norman Lewis (1909-1979) were major contributors to Abstract Expressionism but as a woman and as an African American, respectively, they were often overlooked in mainstream criticism of the time.

The work of Krasner and Lewis has intriguing formal similarities while reflecting each artist's personal background. Krasner's Little Image pictures relate to her childhood upbringing and study of Hebrew, and are today considered significant contributions to Abstract Expressionism. Lewis's Little Figure paintings reference African American cultural heritage, including urban life, Harlem, jazz, and textiles. Beneath the formal elegance of Lewis's paintings runs a characteristically subtle inflection of his lifelong social activism and humanitarian concerns. Both artists' work of this formative period embodied the allover approach characteristic of the style. Yet, rather than the bold, gestural strokes of their peers they focused on smaller, repeated images with self-reflective cultural references. Their paintings - brimming with gesture, image, and incident - are dynamic yet modest in scale compared with the canvases of many of their contemporaries.

From the Margins was inspired by the Jewish Museum's 2008 landmark exhibition, Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976. In a show that featured artists whose stature has grown legendary, two highly personal paintings juxtaposed together, one by Lee Krasner and the other by Norman Lewis, stood out. They possessed, as Action/Abstraction curator Norman Kleeblatt said, a "magical synergy" and spoke in a common pictorial language. The paintings were Lee Krasner's Untitled (1948) and Norman Lewis's Twilight Sounds (1947) which are among nearly 40 artworks offering visitors a thorough and revealing exploration of these artists. The new exhibition highlights the evolution of their artistic practice, as well as their ambitious handling of line, form, and gesture.

Krasner, often overshadowed as the wife of Jackson Pollock, created innovative systems and iconographies within the overall painting style of Abstract Expressionism. In her Little Image paintings, Krasner worked with small repeated pictographs that she systematically painted onto the canvas from right to left, as she was taught to write Hebrew. The shapes are not recognizable images, yet evoke letters, signs, or symbols. Meticulously crafted and intimately scaled, the Little Image works reflect her deft control of unorthodox painting methods such as applying pigments with sticks and palette knives or straight from the tube. Her art celebrates painting as a primal means of communication through an analogy with picture-based writing systems.

Lewis produced unique linear abstractions that shared much conceptually and aesthetically with the work of celebrated Abstract Expressionist painters, such as Ad Reinhardt and Mark Tobey, while expressing his own identity with sources from African American culture. His Little Figure paintings, with their highly abstracted formal structures, make reference to the urban experience, the vibrancy of Harlem, musical structures, jazz, and African textiles.

The paintings of Lee Krasner and Norman Lewis selected for this exhibition suggest several parallels. Developed within a key period in American art and culture, their works offer scope for reflection on interrelated themes: abstraction and meaning; artistic expression and identity, whether related to class, gender, ethnicity or race; and the reasons artists may have been marginalized from an emerging discourse.

From the Margins: Lee Krasner I Norman Lewis, 1945-1952 is organized by Norman L. Kleeblatt, Susan and Elihu Rose Chief Curator at the Jewish Museum, and Stephen Brown, Assistant Curator.

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