508 results for "motherwell"

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers and Fruit) Year: 1963 Medium: Watercolor on heavy archival paper Size: 11.5 x 15 inches Condition: Go...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condition: Good Provena...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Patio Still Life with Flowers, Plants and Pots) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches ...

David Hare Cronus View from the Cave, 1971 Graphite, Ink wash, Paper Collage on Paper on Board 25 x 33 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Artist: Denise Green (American, b. 1946), Title: "10 GT Jones St" Medium: Oil on canvas Details: Signed and inscribed verso "For James Schuyler" Size: ...

Fantastic, sophisticated holiday gift Bold combination of geometric and gestural styles of abstraction by NYC based designer/artist Fredda Tone Reminiscent...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers) Year: circa 1963 Medium: Acrylic on double layered Masonite Size: 29.5 x 21 inches Condition: Good P...

Bold combination of geometric and gestural styles of abstraction by NYC based designer/artist Fredda Tone Reminiscent of Clifford Stills, Robert Motherwel...

Frank Shifreen Family 2 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and be...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers and Fruit) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condition: Go...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Garden Still Life with Flowers and Fruit) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condit...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Music Stand, French Horn, Saxophone, Drum) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 ...

Lowell Blair Nesbitt is an American painter, draughtsman, printmaker, and sculptor. Although he worked in a variety of media and covered a wide range of subjects throughout his caree...

David Hare Summer Land, 1970 Acrylic or oil paint and collage on board Dimensions: 26 X 36 inches. Framed measuring 29 x 38 inches. Hand signed, dated and titled on tape to verso 'Summer Land 1970 Hare'. Provenance: Hamilton Gallery of Contemporary Art, New York David Hare (1917 – 1992) was an American artist, associated with the Surrealist movement. He is primarily known for his sculpture, though he also worked extensively in photography and oil painting. The VVV Surrealism Magazine was first published and edited by Hare in 1942. Born March 10, 1917 in New York City, New York to father Meredith Hare, a lawyer and mother Elizabeth Sage Goodwin, an art collector. In the 1920s the family moved first to Santa Fe, New Mexico and later to Colorado Springs, Colorado, in hope that the fresh air would help heal Meredith Hare's tuberculosis. His mother founded the Fountain Valley School, where David attended high school. After high school Hare married and moved to Roxbury, Connecticut where he worked as a color photographer. He attended Bard College in Annandale-on-Hudson from 1936 to 1937, studying biology and chemistry. In the late 1930s, with no previous artistic training, he began to experiment with color photography. Using his previous education in chemistry Hare developed an automatist technique called "heatage" in which he heated the unfixed negative from an 8 by 10-inch plate, causing the image to ripple and distort. Hare's Surrealist experiments in photography were only one of his many projects. In 1938 he met Susanna Winslow Wilson and the couple soon married. Both David and Susanna pursued their interests in Surrealism and regularly attended Surrealist gatherings in New York Larre French restaurant on 56th street and at Breton's Greenwich Village apartment. In 1940 he received a commission from the American Museum of Natural History to document the Pueblo Indians of the American Southwest, for which he eventually produced 20 prints developed using Eastman Kodak's then-new dye transfer process (a time-consuming and complicated technique). In the same year, he also opened his own commercial photography studio in New York City and exhibited his photographs in a solo show at the Julien Levy Gallery. In the next few years, through his cousin the painter Kay Sage, he came into contact with a number of Surrealist artists who had fled their native Europe because of World War II. Hare became closely involved with the émigré Surrealist movement and collaborated closely with them on projects such as the Surrealist journal VVV, which he co founded and edited from 1941 to 1944 with André Breton, Max Ernst, and Marcel Duchamp. With numerous illustrations by Breton, Leonora Carrington, Marc Chagall, Roberto Matta, Giorgio de Chirico, MarcelDuchamp, Max Ernst, Andre Masson, Joan Miro, Enrico Donati, Dorothea Tanning, and others. Published in only four issues between 1942-44, VVV was an experimental New York-based magazine devoted to the dissemination of Surrealism. Edited by David Hare, the short-lived magazine featured contributions from some of the leading avant-garde artists of the period. David and Susanna divorce in 1945 and Breton’s wife Jacqueline Lamba...

Woman with Arms Crossed Mixed media collage-painting on stone chip surface, mounted on fabric, mounted on wood support by the artist, 1955 Signed and dated lower center Image size: 1...

David Hare Cronus Descending, 1971 Acrylic on linen 64 x 46 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most ...

Irene Rice Pereira, Mixed Media on Paper (American, 1902-1971) Titled "The East Wind Carries the Seed" Hand signed l.r. "I. Rice Pereira". Paper: 14.1/8"h x 18.25"w Irene Rice Pe...

Adja Yunkers, Latvian/American, 1900-1983. 1973 Mixed media collage painting with applied threads on canvas, Titled "Collage #67". Initialed "A. Y." and dated "'73" lower left, ...

Neoclassical Head in profile Watercolor and graphite on paper, 1950 Signed and dated lower left in ink (see photo) Provenance: Washington, D.C. private collection Condition: Excellen...

"(Magnolia II) Sky Blue" is an abstract botanical painting featuring hues of hot pink, purple, electric blue and orange. Framed in a white frame with mat measuring 27 by 27 inches. ...

Norman Carton (American, 1908-1980), Oil on canvas Hand signed lower left Dimensions: 25.5 X 21.5 X 1.5 in. Work Size: 24 x 20 in. Modern abstract painting featuring bold gestural...

This painting is an abstract landscape on canvas featuring vibrant and dark layers of green, yellow, orange and red Katherine Sandoz is inspired by the work of Helen Frankenthaler, ...

This painting is an abstract landscape on canvas featuring blue, green, pink and yellow. Katherine Sandoz is inspired by the work of Helen Frankenthaler, Richard Diebenkorn, Morris ...

David Hare Cronus Waiting, 1990 Acrylic on linen 72 x 42 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

Born in 1955, Hyderabad, India, painter and writer Sangeeta Reddy migrated to the United States in 1978 and continued her studies in art. Currently she maintains a studio on Santa Fe Dr. in Denver, Colorado and Hyderabad, India, dividing her time between the two. She has been represented by various galleries in Aspen, Denver, New York, New Delhi, Chennai and now, Hyderabad since the beginning of her 26 year career. Sangeeta has lived and breathed the arts from a very young age – her maternal grandmother was a contemporary of the classical vocalist Kesarbai Kerkar, her grandfather a connoisseur of the arts. Steeped in music, her mother was one of the first disciples of the late Pandit Ravi Shankar. Her late father was a pictorial photographer who co-founded the Hyderabad Photographic Society. Sangeeta chose to follow her own path into the visual and literary arts. With seven years of undergraduate work in fine art in India and the US, and a bachelor’s from Bombay University in English literature and Philosophy, in 1985, Sangeeta’s work has developed into a highly individual style of mixed media abstract expressionistic paintings and monotypes on both canvas and paper. The deconstructed calligraphy and vibrant and nuanced color ever present in her work gives the work the flavor of India in concert with a western restraint. Known primarily for her mixed media collages on paper and canvas, her abstract work was conceived from a challenge to visually parallel Sankara’s idea of Brahman in Advait philosophy and has now evolved into a formal language of deconstructed Devanagari calligraphy. Her artistic influences range widely from Indian weaving and textiles to Vincent Van Gogh, Paul Cezanne and Pablo Picasso (who were introduced to her at a very young age by her father’s interest in Western art), to her discovery (while studying in the US) of the Taos School of landscape painters as well as the Abstract expressionist painters, painters, in particular, Mark Rothko and Willem De Kooning, Robert Motherwell, Antoni Tapies and Richard Diebenkorn. After having worked for 28 years in an abstract expressionist manner, her latest series of paintings are based on the rock formations of the Colorado Plateau. She was first Inspired By Abstract Expressionists like Barnett Newman, Mark Rothko, Clyfford Still, Ray Parker, her style evolved into abstract expressionism and color field painting, Since moving to the US she has become familiar with some of the artistic giants – Georgia O’keeffe, Maynard Dixon, Ernest Blumenschein, Victor Higgins and John Marin, much later of the Group of Seven and of Regionalism. The mountains and plains, canyons and stretches of sky, pinion, sage and cottonwoods. Mostly they were in the form of small plein air works in pastel, charcoal or water color, or drawings from memory or photographs that were more reductive and expressionistic. She has also worked in monotype techniques and in collage. SELECTED EXHIBITIONS Recent Shows: 2016 Fractured Landscapes of the West, BMOCA, Boulder, CO 2014 Erasing Borders 11th Annual Exhibition of Contemporary Indian Art, Queens Museum, NYC 2014 LA Artcore, Los Angeles 2013 Shrishti Art Gallery, Hyderabad, India 2013 Erasing Borders 10th Annual Exhibition of Contemporary Indian Art, 2012 Erasing Borders 9th Annual Exhibition of Contemporary Indian Art, Art Crossings, Queens, the Bronx school for the Arts, New York and Art6, Richmond, Virginia. 2011 “IAAC Erasing Borders: 8th Annual Exhibition of Contemporary Indian Art”, Queens Museum of Art, Queens, New York, Aicon Gallery, NYC, Charles B. Wang Center, Stony Brook and Jorgenson Center, 2011 The William Havu gallery, Denver, Colorado 2009 15th Street Gallery, Boulder 2009 Retrospective, Rocky Mountain Women...

Frank Shifreen The Prophet 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and...

Remo Farruggio Blue Machine, ca. 1949 Original oil painting on masonite Signed on the front and titled on the back 7 1/2 × 9 1/2 inches Unframed This is mid century modern oil painti...

Frank Shifreen Plates, Moons, Planets, Stars 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtap...

Frank Shifreen The Hug 2021 30 x 48 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and bea...

This painting is an abstract landscape on canvas featuring red, orange, yellow, purple, peach, black and white. Katherine Sandoz is inspired by the work of Helen Frankenthaler, Rich...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

Frank Shifreen The Struggle 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses w...

Frank Shifreen Interior 2021 24 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and be...

Frank Shifreen Study 1 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and bea...

Frank Shifreen Landscape with Figures 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the...

Frank Shifreen Man at Table 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity an...

Frank Shifreen Seated Woman 2021 48 x 30 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity an...

Frank Shifreen The Bars are Open 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the puri...

Frank Shifreen Roadside Figure in Orange 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose ...

Frank Shifreen Roadside Figure in Orange 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose ...

Frank Shifreen The Prophet 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses whi...

Frank Shifreen Couple 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and beau...

Frank Shifreen Still Life 3 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity an...

Frank Shifreen Seated Woman 2021 48 x 30 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity an...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

Frank Shifreen Untitled 1 2021 22 x 28 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and ...

Frank Shifreen Untitled 1 2021 22 x 28 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and ...

Untitled - Abstract Expression is an original artwork realized by Giorgio Lo Fermo in 2015. Oil on canvas applied on plywood. Perfect conditions. ...

Abstract Composition is an original artwork realized by Giorgio Lo Fermo in 2016. Oil on canvas. Perfect conditions. It is a representation of an abstract composition characterized ...

Abstract Expressionism is an original artwork realized by Giorgio Lo Fermo in 2016. Oil on canvas applied on plywood; hand signed by the artist on the lower left margin. Frame includ...

"(Turtle Island) Wrack Line" is a small abstract landscape painting featuring bright yellow, green, black and red hues. With the marshes, waterways and people of the low-country off...

David Hare Cronus Dining, 1968 Graphite, acrylic, paper collage on board 44 x 34 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

CARLOS MERCADO ABSTRACT Inspired in the work of Franz and Ives Klein This body of work was produced during the initial months of the lock down due to the pandemic. This tragedy crea...