New York


Market Art + Design Hamptons

July 6-9, 2017

The Bridgehampton Museum

2368 Montauk Highway, Bridgehampton, NY

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Courtesy Market Art + Design Hamptons.

Formerly known as Art Market Hamptons, Market Art + Design has been bringing hip to the Hamptons for seven years now, shedding the East End's image as an exhibitor of the outdated and the overpriced by showcasing the finest in modern and contemporary art from some of today’s hottest up-and-coming artistsand occasionally, titans from adjacent art industries like John Mellencamp, who presented at the fair in 2015.


Co-produced by the Palm Beach Show Group this year, Market Art + Design will feature 65 top galleries presenting and a new “tightly curated jewelry and design component” known as The Jewelbox, which will kick off following a music and libation-filled preview night in support of The Parrish Art Museum.




A New American Sculpture, 1914-1945: Lachaise, Laurent, Nadelman, and Zorach

Through September 8, 2017

Portland Museum of Art

7 Congress Square, Portland, ME

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William Zorach (United States, born Lithuania, 1889–1966) Waterfall, 1917 Butternut, 15 3/4 x 7 1/2 inches Lent by the Estate of Dr. Samuel and Adele Wolman
Elie Nadelman (United States, born Poland, 1882–1946) Acrobat, 1916 Bronze, 17 1/2 x 6 x 9 1/4 inches (including base) Myron Kunin Collection of American Art, Minneapolis, Minnesota


How did a Frenchman, a Pole, and a Lithuanian become three of the biggest names in American sculpture? It may sound like the setup to a bad joke, but it’s actually the story of how Gaston Lachaise, Elie Nadelman, and William Zorach, respectfully, rose to prominence. After enjoying formative experiences in Paris in their early careers, all three artists were forced to pick up and resettle in the United States by the start of the first World War. Drawing on the differences between their unique backgrounds and their new homes, it was here that, along with American sculptor Robert Laurent, they all began to redefine the expressive potential of sculpture in one of the most turbulent eras in modern history.


In an effort to “investigate the integral relationships between modernism, classicism, and popular imagery in the interwar sculpture,” the Portland Museum of Art opened an exhibition in May featuring the distinct works of all four artists under the title, A New American Sculpture. Assembled from public and private collections, this exhibition of 60 sculptures and a number of preparatory drawings highlights the communicative power of the human form that tied Lachaise, Nadelman, Zorach, and Laurent together.


Marsden Hartley’s Maine

July 8-November 12, 2017

Colby Museum of Art

5600 Mayflower Hill, Waterville, Maine

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Desertion, 1910. Oil on commercially prepared paperboard (academy board), 14 1⁄4 x 22 1/8 in. (36.2 x 56.2 cm). Colby College Museum of Art, Waterville, Gift of the Alex Katz Foundation


Based solely on his bodies of work, it would be hard not to label Marsden Hartley as “the Stephen King of painting.” Like King, the vast majority of Hartley’s catalogfrom his early, post-impressionist inland landscapes to his later, stripped down Modernist masterpieces—placed his native state of Maine in the forefront of the stories he was trying to tell, using it as a springboard for his creativity to take flight. In fact, after returning home from almost a decade abroad in the 1920s, Hartley declared his desire to become “the painter of Maine” and depict American life on the local level, aligning himself with several of the era’s Regionalist artists in the process.


In partnership with the The Metropolitan Museum of Art, The Colby Museum of Art will be unveiling an extensive exhibition of Hartley’s lifelong tribute to Maine as a means for understanding his highly-respected place in American art history.





Grandma Moses: American Modern

July 1-November 5, 2017

Bennington Museum,

75 Main Street, Bennington, VT

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Anna Mary Robertson (“Grandma”) Moses (1860-1961), Cambridge, 1944. Oil on Masonite, 20-1/4 x 24-3/8 in. Copyright © 2016 Grandma Moses Properties Co, New York. Collection of Shelburne Museum, Museum purchase (1961-210.1). Photography by Andy Duback.

Anna Mary Robertson “Grandma” Moses may be one of the most famous folk artists to ever put brush to paper, but largely overlooked from her incredible career was the impact she had on the modernist movement. A farm wife in Upstate New York for the first 78 years of her life, Moses’ earnest, charming depictions of rural life quickly captivated an increasingly urbanized nation, earning her international acclaim on the eve of the second World War. But embedded within Moses’ “old-timey” depictions of New England landscapes was the brushwork of a highly refined artistone who combined multiple perspectives in the same painting and, whether consciously or otherwise, paralleled the techniques of Cubism, Surrealism, and Pop Art. Indeed, it was her massive success between the 1930s and 50s in particular that helped unite the worlds of folk and modernist art, with curators and collectors making connections between the “American Primitives” and the most advanced contemporary art.


Representing the second and final stop of its museum tour, the Bennington Museum will pair 60 of Grandma Moses’ most beloved paintings alongside the works of such iconic Modernists as Joseph Cornell, Helen Frankenthaler, Fernand Léger, and Andy Warhol, as well as folk artists like Edward Hicks and Joseph Pickett, in order to further illustrate the subtle similarities that tied Moses to a movement that, on a surface level at least, seemed almost diametrically opposed to the one for that she became known the world over.




Pollock/Motherwell Exhibition at Nelson-Atkins

July 8-Oct 29, 2017

The Nelson-Atkins Museum of Art

4525 Oak Street, Kansas City, MO

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Jackson Pollock, Number 1A, 1948. Courtesy of Flickr.

“Jackson Pollock and Robert Motherwell were vital figures of mid-20th-century American painting. Both innovated new approaches to creative expression. They also shared colorful, intense personalities that raised their profiles not just in the art world but in the public imagination.”


So says Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins, in reaction to the museum’s upcoming exhibition, which will see Pollock’s largest ever commissioned work, Mural, placed alongside Motherwell’s Elegy to the Spanish Republic, No. 126. Though these two pieces could not be more different in compositionwith Pollock’s frenzied, visual abstraction standing in stark contrast to Motherwell’s rhythmic, contrast heavy structuresthey each represent significant points in each artist’s career, and by extension, the history of the Abstract Expressionist movement.


“This exhibition will present a unique opportunity to consider the idea of legendary stories,” said Sherèe Lutz, the curator of this installation. “Ranging from conservation histories to inventive narratives surrounding the artists, we pull back the curtain to reveal some behind-the-scenes information about the paintings, the artists, and the movement.”