abstract oil painting by artist Willem de Kooning    
Abstract Expressionism: A Social Revolution, Selections from the Haskell Collection

October 27 2019 – January 5, 2020
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by the Tampa Museum of Art

Abstract Expressionism: A Social Revolution focuses on the rise of a new generation of artists active in post-World War II America whose works challenged the institutional status-quo and altered the course of art history. The artists in this show, such as Helen Frankenthaler, Willem de Kooning, Robert Motherwell, and Mark Rothko, though never formally associated, are unified by their rejection of academicism and commitment to pushing the boundaries of modern art. These artists, today called Abstract Expressionists, abandoned narrative painting, focusing instead on relationships between color, gesture, and texture.

Additionally, the exhibition examines a group of artists whose works express the legacy of Abstract Expressionism and the effect it had on the art of the late twentieth century. The work of artists like Sam Francis, Judy Pfaff, Robert Rauschenberg, and Frank Stella signifies the indistinct boundaries between art movements and builds on the complexity of mark making established by the earlier generation.

Abstract Expressionism: A Social Revolution is divided into three sections: Abstraction and Revolution, Abstractions and Repetition, and Abstraction and Its Legacy. Through these categories, the exhibition interrogates how the artists expanded the language of abstraction and experimented with new materials and methods. Exemplary works by twenty-five artists reveal how these men and women, while working in their own distinct abstract styles, together forged a significant turning point in art history.

Catalogue will be available in the museum store.

Sponsored by:          

Theodore W. and Betty J. Eckels Foundation | Kate and Michael Buttarazzi | Karen and Preston Dorsett | Andrea and Doug Edwards | Amanda and Nick Goetze | Anne and Mike Keeney | Ellen and William Losch | Nancy and Steve Morrow | Irene Orgill | Gwen and Penn Owen | Trish and Carl Ring | Sue and Al Saltiel | Jeff and Mary Baird Simpson | Craig Simrell and Mark Greganti | Irene and Fred Smith | Adele Wellford | Barbara and Lewis Williamson 

Willem de Kooning, Woman II, 1961; Oil on paper mounted on canvas; The Haskell Collection. © 2018 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York & Mark Rothko, Untitled, 1968; Oil on paper mounted on canvas; The Haskell Collection. © 2018 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York


abstract oil painting by dzubas  abstract painting by dzubas
Friedel Dzubas: The Ira A. Lipman Family Collection  

October 27, 2019 - January 5, 2020
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by the Dixon Gallery and Gardens 

After arriving in the United States at the start of World War II, German-born American artist Friedel Dzubas (1915-1994) began experimenting with large-scale abstract painting. Dzubas’s canvases, characterized by vibrant, colorful surfaces, are among the most ambitious abstract paintings of the second half of the twentieth century. Most often associated with Color Field painting, or what his friend Clement Greenberg called Post-Painterly Abstraction, Dzubas is frequently referenced alongside other artists in the New York School, like Helen Frankenthaler, Morris Louis, and Kenneth Noland. Nevertheless, his works are distinct among his peers. His output is rich in expressive paintings with an intense emphasis on both the saturation of color and the actual texture of the surface, a quality that distinguishes his work from his contemporaries. While the artist’s style subtly evolved as his career progressed, Dzubas was committed to the mastery of painterly technique, from the dramatic physicality of gestural abstraction to the reduced elements of Color Field painting to the rhythmic brushstrokes of lyrical abstraction.

Drawn from the Ira A. Lipman Family Collection, the largest privately held collection of Dzubas’s painting, this exhibition traces the artist’s subtle yet palpable stylistic shifts through twenty-six beautiful, fully-resolved works, from the beginning of the artist’s career to some of his final paintings created in the early 1990s.

Catalogue will be available in the museum store.

Friedel Dzubas (American, born Germany, 1915-1994)Accord, 1970; Oil on canvas; Ira A. Lipman Family Collection & Friedel Dzubas (American, born Germany, 1915-1994)Brimrock, 1975; Magna (acrylic) on canvas; Ira A. Lipman Family Collection


Laurel Sucsy: Finding the Edge 

October 13 - January 5
Mallory/Wurtzburger Galleries

Organized by the Dixon Gallery and Gardens 

Laurel Sucsy is an artist based in Memphis, Tennessee, and New York. Inspired by nature and the objects she encounters in her daily life, she explores abstraction in a variety of media, including painting, sculpture and photography.

Sucsy’s exhibition in the Mallory/Wurtzburger Galleries this fall spotlights her recent work, which ranges from dynamic, colorful abstractions in oil to thoughtful, monochromatic photographs.  Regardless of the medium, all her works are characterized by a sense of spatial tension that enlivens them as it shrouds them with a dreamlike quality.

Sucsy’s paintings are rooted in organic forms, which she breaks down into a series of loosely connected shapes that result in kaleidoscopic and energetic abstractions.  In contrast, her photographs are much more meditative—they are records of small studio sculptures formed by marrying raw canvas with wet plaster.  These white-on-white images are quietly powerful studies in texture, form, and light and shadow.  Though these bodies of work are seemingly disparate, Sucsy’s paintings and photographs are both rooted in her relentless quest to discover and understand the fundamentals of structure, color, weight, and surface as they exist and harmonize in the natural world.

Laurel Sucsy, Macula, 2019; Digital print; Courtesy of the artist


Augusta Savage: Renaissance Woman

January 19, 2020 – March 22, 2020 
Presented by The Joe Orgill Family Fund for Exhibitions
Organized by Cummer Museum of Art and Gardens

Augusta Savage: Renaissance Woman celebrates the work and legacy of one of twentieth-century America’s most influential artists. Augusta Savage (1892-1962) was a Black woman artist from the South whose career as a sculptor led her north to Harlem in 1921. Her talent, ingenuity, and determination led to her prominence and a successful career during the Harlem Renaissance. In addition to her own artistic practice, she worked tirelessly to challenge art galleries and museums to recognize Black artists. Savage’s work as an educator and activist in the Harlem community galvanized a younger generation of African American artists.

This landmark exhibition features more than fifty works of art, including sculptures, paintings, photographs, and drawings, by both Savage and the artists she taught, championed, and inspired. It is the first exhibition to consider Augusta Savage’s contributions to art and cultural history in light of the twenty-first-century concept of the artist-activist. August Savage: Renaissance Woman re-examines Savage’s place in the history of American sculpture and positions her as a leading figure who broke down the barriers she and her students encountered while seeking to participate fully in the international art world.  

This exhibition is curated by Jeffreen M. Hayes, Ph.D. and organized by the Cummer Museum of Art & Gardens with support from the National Endowment for the Arts and the Sotheby’s Prize.

Augusta Savage, Gwendolyn Knight, 1934–35; recast 2001; Bronze; Walter O. Evans Collection of African American Art & Augusta Savage, Gamin, ca. 1930; Plaster; Museum purchase, 2013.2

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