James Rosenquist News

In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.

Coinciding with the 50th anniversary of the Guggenheim Museum's historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisted, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm's place in the history of modern art.

In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.

The first garden was Eden -a setting of flowers and plants for the creation of our world and mankind. Ever since, we have cultivated gardens simply for their beauty or for the sustenance they provide as food. Flowers have served as inspiration for painters and poets from time immemorial. From the mundane to the exquisite, flowers enhance every facet of our lives. Their physical expression may be found in gardens and outdoor parties of every kind, from the humblest to the most elegant 18th-century fête champêtre.

Lisa Phillips, Toby Devan Lewis Director of the New Museum, announced today that the institution is launching an incubator for art, technology, and design that will be a first for the museum field. Opening in summer 2014 in the Museum's adjacent building at 231 Bowery, this new not-for-profit initiative will create a hybrid educational and professional workspace—a dynamic 24/7 center where more than sixty start-up and creative entrepreneurs will form a vibrant interdisciplinary community geared toward collaboration and innovation. Amplifying the New Museum's mission to explore new art and new ideas, the incubator was conceived by Phillips and the Museum's Deputy Director Karen Wong, and is the latest in a series of programs developed by the institution to challenge the boundaries and expand the relevance of museum practice in the twenty-first century.

Activism and artistic practice intersect in Witness: Art and Civil Rights in the Sixties, a presentation of 103 works by 66 artists that is among the few exhibitions to explore how painting, sculpture, graphics, and photography not only responded to the political and social turmoil of the era but also helped to influence its direction. Debuting at the Brooklyn Museum, where it will be on view from March 7 through July 6, 2014, the touring exhibition marks the fiftieth anniversary of the passage of the Civil Rights Act of 1964, the events leading to this historic moment, and the aftermath of the legislation.

Season Two of the Emmy-nominated HBO series YoungArts MasterClass, in which renowned artists and masters teach and mentor young artists selected by the National YoungArts Foundation (YoungArts), concludes with two nights of back-to-back episodes including encore presentations and premieres. Beginning at 6:30PM ET/PT on Tuesday, May 21, 2013 HBO2 will air encore presentations of Season Two episodes featuring master teachers Patti LuPone,Bobby McFerrin and John Guare.

JAMES ROSENQUIST: F-111 exhibit will run January 25-July 30, 2012 at The Werner and Elaine Dannheisser Gallery, fourth floor at MoMA.

'UNFORGETTABLE: Selections from the Emily Fisher Landau Collection', on view February 10 - April 4 in the 1st floor gallery. The exhibition highlights a selection of paintings, sculpture and photography, including such iconic pieces as Ed Ruscha's 'Securing the Last Letter' 1964, Louise Bourgeois' 'Nature Study' 1984, Robert Rauschenberg's 'Sundog' 1962, Georgia O'Keeffe's 'Dry Waterfall' 1951 and Agnes Martin's 'Grey Stone II' 1961, along with additional artworks by Willem de Kooning, April Gornik, Jasper Johns, Barbara Kruger, Vera Lutter, Richard Prince, James Rosenquist, Kiki Smith, Rudolf Stingel, Mark Tansey, Andy Warhol and others.

'UNFORGETTABLE: Selections from the Emily Fisher Landau Collection', on view February 10 - April 4 in the 1st floor gallery. The exhibition highlights a selection of paintings, sculpture and photography, including such iconic pieces as Ed Ruscha's 'Securing the Last Letter' 1964, Louise Bourgeois' 'Nature Study' 1984, Robert Rauschenberg's 'Sundog' 1962, Georgia O'Keeffe's 'Dry Waterfall' 1951 and Agnes Martin's 'Grey Stone II' 1961, along with additional artworks by Willem de Kooning, April Gornik, Jasper Johns, Barbara Kruger, Vera Lutter, Richard Prince, James Rosenquist, Kiki Smith, Rudolf Stingel, Mark Tansey, Andy Warhol and others.

Julie Mehretu: Grey Area, an exhibition of six new large-scale paintings by American artist Julie Mehretu, is presented at the Solomon R. Guggenheim Museum as part of the Deutsche Bank Series at the Guggenheim, May 14 to October 6, 2010.

Julie Mehretu: Grey Area, an exhibition of six new large-scale paintings by American artist Julie Mehretu, is presented at the Solomon R. Guggenheim Museum as part of the Deutsche Bank Series at the Guggenheim, May 14 to October 6, 2010.

Julie Mehretu: Grey Area, an exhibition of six new large-scale paintings by American artist Julie Mehretu, is presented at the Solomon R. Guggenheim Museum as part of the Deutsche Bank Series at the Guggenheim, May 14 to October 6, 2010.

Julie Mehretu: Grey Area, an exhibition of six new large-scale paintings by American artist Julie Mehretu, is presented at the Solomon R. Guggenheim Museum as part of the Deutsche Bank Series at the Guggenheim, May 14 to October 6, 2010.

Julie Mehretu: Grey Area, an exhibition of six new large-scale paintings by American artist Julie Mehretu, is presented at the Solomon R. Guggenheim Museum as part of the Deutsche Bank Series at the Guggenheim, May 14 to October 6, 2010.

Thursday, April 15, 2010 is the date for the third presentation of the annual Greenfield Prize, a $30,000 commission for a new work of art in a designated category. This year's award goes to Sanford Biggers, the first visual artist to receive the Greenfield Prize since its inception in 2008.

Thursday, April 15, 2010 is the date for the third presentation of the annual Greenfield Prize, a $30,000 commission for a new work of art in a designated category. This year's award goes to Sanford Biggers, the first visual artist to receive the Greenfield Prize since its inception in 2008.

The Woodward Gallery presents 'Big Paper Winter', its 9th annual exhibition of works on paper. The exhibition will run from January 16 to February 27, 2010.

The Woodward Gallery presents 'Big Paper Winter', its 9th annual exhibition of works on paper. The exhibition will run from January 16 to February 27, 2010.