Saturday, February 28, 2015

Contemporary art and dance interact at the University of Tulsa... Cathy Brealaw

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Contemporary art and dance interact at the University of Tulsa

"Recently at the Alexandre Hogue Gallery was an exhibition by Cathy Breslaw, "Material Visions" a mixed media installation. During this exhibition the Advanced Dance Repertory Class came to the gallery and were so moved by the exhibition that each performer chose a piece of Cathy's work that inspired them and they choreographed their own portion of the dance as well as choreographing it together as a group dance. The group came to the gallery and performed their dance and we were lucky enough to have been able to film their performance. We would like to thank Cathy Breslaw for her beautiful art that inspired these young performers. We would also like to thank Professor Jessica Vokoun from the Theater Department for guiding these students in their journey of being inspired by art. We would like to thank the performers for their hard work, imagination, and creativity: Harley Dixon, Sara Drost, Maggie O'Gara, Lizzy Rainey, Jillian Schlecht, and John Yuan." Lora Hodge Art Department, University of Tulsa

"I was so touched that my work inspired feelings in others, and to see this played out in the form of 'dance' is a blessing and a gift."

Cathy Breslaw

More of my work can be seen at my next exhibition 'Imaginings' which will be held at the beautiful contemporary art gallery Rose Gallery, on the campus of Francis Parker School, San Diego California. I am planning a large central installation called 'Dream Scape'.

The show opens with a reception on Thursday, April 2nd from 4:00 - 6:00 pm. The public is welcome and the show will be on view through May 7th.

For more information:

Phillips Contemporary Art & Design Sale 3&4 March NYC

Phillips Contemporary Art Now On View


RICHARD PRINCE Untitled (cowboy), 1986   Estimate  $1,000,000-1,500,000




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Friday, February 20, 2015


Phillips London Contemporary Art Invitation to Consign


MICHAEL MANNING Untitled #7 (Sheryl Crow Pandora), 2014 (detail)


Tamila Kerimova
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art wynwood 


Major Collectors from New York, Miami and Abroad Make Important Acquisitions

Miami (February 19, 2015) -
 Art Wynwood, the annual Presidents Day Weekend art fair, presented over 60 galleries, from 9 countries representing over 25 cities, featured a wide breadth of quality works from both established and mid-career cutting edge artists. The Fourth Edition reported record attendance, attracting over 35,000 enthusiasts and some of the world's most prominent collectors; as well as a strong show of patrons from the international clientele in town for the Yacht & Brokerage Show. Art Wynwood has secured its position as the most important contemporary art fair in the southeast during the winter months by offering the most discerning international collectors, art enthusiasts and seasoned cultural travelers the best opportunity to discover, explore and collect some of the most significant art works of our time.

"The City of Miami and The Wynwood Arts District continues to deliver for our participating dealers while quenching the thirst of an active international art collecting community who are visiting or residing in South Florida each winter," said Nick Korniloff, Executive VP of Art Miami LLC.  "This past weekend proved that Miami continues to develop as a serious cultural destination outside the month of December".

"For the fourth edition of Art Wynwood, the enthusiasm, focus and momentum of our local, regional and international galleries has made the fair an exceptional success," said Grela Orihuela, Art Wynwood Fair Director. "Our clear determination was to continue to grow and shape this fair into an event embodying the tremendous art character and talent of its Miami roots."
Christie's International Real Estate hosted an interactive booth at the entrance of Art Wynwood, exhibiting international luxury residential real estate offerings, and a new addition to the fair was a special exhibition titled SOLO Miami where a selection of local galleries, including Emerson Dorsch, GUCCIVUITTON, Primary, Fredric Snitzer Gallery and Spinello Projects, exhibited side-by-side to present solo exhibitions premiering exciting new work by consequential local artists.


Thursday, February 19, 2015

New York, February 19, 2015, The Museum of the City of New York presents HIP-HOP REVOLUTION: Photographs by Janette Beckman, Joe Conzo, and Martha Cooper

Photographs by Janette Beckman, Joe Conzo, and Martha Cooper

Martha Cooper                                                                                     Joe Conzo                                                                                                 Janette Beckman
Major Global Pop Culture Movement Born in New York, Documented by Three Leading Photographers at the Museum of the City of New York

The Museum of the City of New York presents

 HIP-HOP REVOLUTION: Photographs by Janette Beckman, Joe Conzo, and Martha Cooper, an exhibition that shows the historic early days of hip-hop culture and music, with its roots firmly in New York, and how it evolved towards the worldwide phenomenon it is today.
Bringing together for the first time the work of three of the most dynamic and renowned photographers of the hip-hop scene, the exhibition shows the birth of a new cultural movement—with its accompanying music, dance, fashion and style—as it quickly and dramatically swept from its grassroots origins into an expansive commercial industry. The exhibition is a follow-up to the City Museum’s highly acclaimed 2014 City as Canvas exhibition on graffiti art, which brought critical praise and a large audience.
“In New York’s long history, the creativity born of the city’s density and diversity has brought enormous riches to the world,” said Susan Henshaw Jones, Ronay Menschel Director of the Museum of the City of New York. “Hip-hop is yet another incredibly vibrant example of how the world has been shaped by what started in New York. You can see this dynamic and influential music and culture come to life in this exhibition through the powerful photographs of three wonderful photographers.”
Hip-Hop Revolution presents more than 100 photographs taken between 1977 and 1990 by the three preeminent New York-based photographers—Janette Beckman, Joe Conzo, and Martha Cooper—who documented hip-hop from its pioneering days in the boroughs of New York through its emergence into mainstream popular culture worldwide.
Hip-hop culture, incorporating such elements as DJ-ing, MC-ing (rapping), and breaking (dancing), was born on the streets of New York City in the 1970s, largely in the Bronx and Manhattan, and grew to have a global impact on popular culture that continues to the present day. The exhibition showcases the experiences of each photographer during these seminal years, as DJs, MCs, and b-boys and b-girls (breakdancers) were innovating, and developing new forms of self-expression. The work of these photographers—featuring early figures such as Afrika Bambaata, Kool Herc, and Cold Crush Brothers, breakers such as Rock Steady Crew and the Dynamic Rockers, and acts such as Run DMC and the Beastie Boys—form a broad survey of a movement that is indelibly linked to New York City and still has a resounding influence today.

Scope 2015, 3/6-3/8

SCOPE New York’s open-plan design eschews the cookie-cutter art fair clamor for a decidedly thoughtful, polished presentation. Maintaining exhibition square footage and improving useable wall space, galleries will no longer be divided into small booths, but rather, flow beautifully into one another, creating curatorial narratives that encompasses the entire show.
Barbarian Art Gallery
 Rush Arts
Metropolitan-West-SCOPE-New-York-2015 Metropolitan-West-SCOPE-New-York-2015
The Partially Bitten Black Square, 2013
Oil on canvas
60 x 60 cm
When The Bough Breaks (detail), 2014
Mixed media collage installation
60 x 90 in.
Nellie Castan Projects
 Untitled Projects
Composition #7, 2013
Mixed media on linen
170 x 140 cm
KNOW (Portrait of the Artist as a Child), 2008
C-Print mounted on acid free foam core
41 x 41 in. (framed)
SCOPE’s flagship fair will commemorate its 15th anniversary in a new location: one block across from The Armory Show piers at Metropolitan Pavilion West. SCOPE New York’s convenient and well-appointed venue will host 60 international galleries and a focused schedule of special events, performances and talks to complement its new open-plan exhibition format.

15 years ago, SCOPE Art Show mounted its first edition and changed the landscape of the contemporary art fair industry. The first fair to run concurrent with The Armory Show, SCOPE’s spirit of innovation has consistently forged the way for emerging artists, galleries and art fairs. Attuned to nuances in the market and itself an influential force in the cultural sphere, SCOPE is again poised to usher in a new vision of the contemporary art fair.


Art Basel Crowd Funding / If your into the arts this is an interesting new media

February 19, 2015

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News from Bogotá

We would like to announce that FLORA ars+natura, a contemporary art space that specializes in the relationship between art and nature just launched a campaign on Art Basel's curated page on Kickstarter to raise funds to build a community library and documentation center at their residency space in Bogotá, Colombia. 

Simultaneously, the public art organization LAND (Los Angeles Nomadic Division) is very close to reaching their goal to realize a weekend of public programs celebrating the culmination of their cross country billboard art exhibition “The Manifest Destiny Billboard Project.” 

To learn more about the Crowdfunding Initiative, our short film offers a first-hand account from key participants of our initiative. 

Learn more about how you can support innovative non-profit art organizations around the world, receive creative rewards and engage with the projects directly through Art Basel's Crowdfunding Initiative.

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With our warmest regards,

Marc Spiegler
Art Basel

Michèle Sandoz
Head of VIP & Visitor Services
Art Basel

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Exhibitions on View

If you are visiting Sydney or New York City over the next month, we encourage you to see these exciting exhibitions from two of Art Basel's Crowdfunding Initiative participants:

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4A Centre for Contemporary Asian Art
'Actions for Tomorrow' by Chinese art collective Yangjiang Group pushes the boundaries of traditional Chinese calligraphy by exploring ideas of collective action through large-scale architectural constructions, video projections and public performances. January 7 to March 7, 2015

'Araya Rasdjarmrearnsook' presented by SculptureCenter, is the Thai artist's first retrospective in the United States. January 25 to March 30, 2015.

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Wednesday, February 18, 2015

art on paper is moving inside to Pier 36, launching this March 5 - 8

Purchase Tickets

Your Complimentary Fair Pass for Art on Paper

art on paper is thrilled to announce our 2015 exhibitor list. With 55 galleries from around the world bringing the best in paper-based art to New York City's Pier 36, this year's art on paper is guaranteed to be March's top destination for collecting, learning, looking, and celebrating.

Pier 36 will be a dynamic hub of creativity with innovative presentations of paper-based art enhanced by museum-quality installations, exciting lectures and demonstrations, andexclusive access to favorite local restaurants, music, and cocktail programs. We are honored to have such incredible artists as Michael ScogginsWayne WhiteDave EggersMia Pearlman, and William Beckman activating art on paper's public spaces with their ground-breaking installations that will, in the words of The Art Newspaper, challenge the notion of "what a work on paper can be."

art on paper

art on paper will launch Thursday, March 5 with an opening night celebration supporting Beneficiary Parter Brooklyn Museum and its school programs. Morris Sandwich Shopwill feature their famously decadent, local & seasonal grilled cheeses and house-made cocktails throughout the evening. The beloved food truck's brick and mortar spot may be new to the scene, but it's already an institution, hitting Eater's Brooklyn Heatmap just last week. Brooklyn-based Live Footage, the two part jazz + classical = electronic band, will set the scene with their cinematic hip hop performance. Opening night guests, including top collectors, curators, museum directors, and artists, will have the first look atart on paper and the chance to support one of the city's most important institutions.

Programming will continue throughout the weekend with a live demonstration of metalpoint by artist Susan SchwalbThe National Gallery of Art and the British Museum are currently featuring Schwalb's work alongside drawings by Leonardo da VinciRaphaelRembrandt van Rijn, and Jasper Johns in a comprehensive examination of the history of metalpoint, so this is an opportunity that shouldn't be missed. Presenting Partner The Wall Street Journal will offer exclusive tours, receptions and complimentary passes for WSJ+ members, as well as free daily copies of the paper and WSJ. magazine to everyone at the fair. art on paper's Creative Director Sasha Wolfhas assembled a collection of limited edition artist books from around the country that will be available to the public at her beautifully curated art on paper bookstore in the upstairs lounge.

art on paper

We look forward to welcoming the public to what Artnet has dubbed "a new kind of art fair" on Pier 36 in a few short weeks.

Catinca Tabacaru Gallery presents Gail Stoicheff: Distressed Blonde, March 1 - 29, 2015

Detail of Installation, Poisson, 2015, oil and dye on linen and canvas, Hydrocal, 61 x 52 inches
March 1 - 29, 2015
250 Broome Street, New York, NY 10002

OPENING Reception:
Sunday, March 1, 6PM-8PM

Catinca Tabacaru Gallery presents Gail Stoicheff: Distressed Blonde, an exhibition of 13 white rabbits, one phoenix, a handful of medium-sized paintings and two large scale works for which the artist demanded new walls be built. This marks Stoicheff’s first solo exHibition in New York as well as the gallery’s first show with the Brooklyn based painter.

Stoicheff is a material alchemist with two broken fingErs. In her hands, base elements of linen, velvet, gypsum, dye and oil paint are transformed into an unknown alloy. Like a heavy case of jemais vu, she conjures weirdness from the familiar through quasi-magical imagery, mysterious surfaces and smalL cast objects. The work is simultaneously serious and Playful, often calling into question which is which---cute becomes ominous, common becomes strange.

The pieces presented here are visually bountiful. The large works evoke flags of imaginary countries with questionable ideologies or leftover artifacts from a commune that has collapsed into a cult. Her Manipulations of canvas manifest trompe-l’oeil hellish cave walls and dark sacred geometry one moment and bright hippie mysticism the next.  Upon these, marks of the painting process are allowed to coexist with intentional gestures, adornment and defacement at once. Small rabbits cast in Hydrocal or painted in oil populate the gallery, leaning against or sitting aloft larger works, inviting us to follow them down the rabbit hole that is Stoicheff’s eclectic practicE.

Fifi (detail), 2015, oil and dye on velvet and canvas, Hydrocal, metal chain, 96 x 72 inches
Raised in a small town in rural Pennsylvania, Stoicheff received her MFA from Bard College, Milton Avery Graduate School of the Arts, in 2005. She was the recipient of Robert Motherwell’s prestigious Daedalus Foundation Master of Fine Arts Fellowship in Painting, as well as The Elaine DeKooning Painting Award, and was recently the featured cover artist for Little Star Weekly literary journal. She has been with the gallery since its inception. 

250 Broome Street
Tuesday - Sunday 11am - 6pm

June Harwood, Louis Stern Fine Arts

JUNE HARWOOD (1933 – 2015)

“My paint application was (always) uniform,
that is to say that no brush strokes were evident,
creating impeccable, flat surfaces. Thus there would be no distraction from the intent, which was to create an interplay
of ‘colorforms.’ Jules (Langsner) used this term to mean that
color and form are one. One would not exist without the other.”
- June Harwood in interview

June Harwood made a name for herself in the 1960s as an inventive Hard Edge painter. She was included in nearly every important Hard Edge exhibition in and around Southern California, most significantly in California Hard Edge Painting curated by Jules Langsner in 1964 and in Dave Hickey’s invigorating 2004 homage to “The Los Angeles School” exhibited at Otis College of Art and Design.

Harwood was born in Middletown, New York and received a Bachelor of Fine Arts degree from Syracuse University and Master of Arts from California State University at Los Angeles.  Her training at Syracuse University, with an emphasis on the formal aspects of painting, reasonably predicted her interest in Hard-Edge- the term having been coined by her late husband, art critic Jules Langsner.

Harwood has exhibited widely on the West Coast, and her work is included in numerous private, corporate and public collections including University of Southern California, University of California Santa Barbara, California State University Los Angeles, Los Angeles Valley College, Long Beach Museum of Art, Newport Museum of Art, San Jose Museum of Art, Cedars Sinai Hospital, Los Angeles, Home Savings and Loan, Los Angeles, and Western States Producing Company, San Antonio.

In addition to her career as an artist, Harwood was a celebrated educator in the arts for many years, including her 1972-1994 tenure as Professor of Art at Los Angeles Valley College.

June Harwood is represented exclusively by Louis Stern Fine Arts.


Sunday, February 15, 2015

The Lone Art Space: Tancredi Mangano Da Una Certa Distanza (B69) Feb. 27-April 3

Tancredi Mangano
Da Una Certa Distanza (B69)

27 Febbraio / 3 Aprile 2015
Lun. / Ven. ore 10.00-13.00 - 14.30-19.00
Inaugurazione: Giovedì 26 Febbraio ore 18.30 

DUCD #1456, DUCD #63 (dettaglio)


Scope 2015 March 6-8

ALEX YANES, Untitled, 2014
Mixed media sculpture, installation
Courtesy of Joseph Gross Gallery

Thursday, February 12, 2015

12 February 2015, Amsterdam – King Willem-Alexander of the Netherlands officially opened the Late Rembrandt exhibition at the Rijksmuseum today.

12 February 2015, Amsterdam – King Willem-Alexander of the Netherlands officially opened the Late Rembrandt exhibition at the Rijksmuseum today.

The Rijksmuseum’s Director and General Manager Wim Pijbes and Head of Visual Arts Gregor Weber accompanied King Willem-Alexander on a tour of the exhibition highlighted by masterworks including the Portrait of Jan Six (Six Collection), Self-Portrait with Two Circles (Kenwood House, London) and the Family Portrait (Herzog Anton Ulrich-museum, Braunschweig).

Late Rembrandt is the Rijksmuseum’s first ever presentation of a major exhibition dedicated to Rembrandt’s late works.  The exhibition provides a comprehensive overview of Rembrandt’s output between 1651 and his death in 1669 – including over one hundred works, all of which created in Amsterdam.  Complementing Rijksmuseum’s extensive collection of Rembrandt are works on loan from leading international museums and private collections, many never before shown together.

Late Rembrandt is created in collaboration with The National Gallery London, where the exhibition was held 15 October 2014 – 18 January 2015.

Image Caption:  King Willem-Alexander of the Netherlands (l) and Rijksmuseum director Wim Pijbes (r) in front of Rembrandt self-portrait at the opening of Late Rembrandt exhibition at the Rijksmuseum, Amsterdam.

For further information and images:

Monday, February 9, 2015

Tami Curtis,Per Portriats for Valentines Day




Yonker Art Gallery

Tagore Gallery to present a landmark retrospective of work by Edith Schloss (1919-2011),

NM announces major retrospective of Edith Schloss (1919-2011)

Norte Maar, Sundaram Tagore Gallery, retrospective, Edith Schloss
Norte Maar is pleased to announce its collaboration with Sundaram Tagore Gallery to present a landmark retrospective of work by Edith Schloss (1919-2011), one of America’s greatest expatriate artists whose paintings, assemblage, collage, watercolors and drawings border on the bittersweet, fragile, intimate and naïve. Intrinsically linked to the milieu of Postwar American Art, every aspect of the artist’s eccentric personal iconography will be on view for rediscovery. This is the first show of the artist’s work in New York in twenty-five years. This exhibition continues Norte Maar’s mission of re-presenting the work of under represented emerging, mid-career and historic artists.
The exhibition will open with a public reception on Thursday, February 26, 6-8pm and will continue through March 28. Gallery hours are Tuesday through Saturday, 11-6pm. A lecture in advance of the exhibition will be held at the Art Students League, Tuesday, February 10, 7pm. More information on the lecture here.
Curated by Jason Andrew and organized in collaboration with the Brooklyn-based nonprofit arts organization Norte Maar, this exhibition represents the most comprehensive showing of the artist’s work, offering historic examples from all genres of her career beginning with early still lifes of the 1950s and painted scenes of Penobscot Bay in Maine, to seascapes from her beloved studio in Lerici, Italy, and finally to the mythological abstractions she painted up until her death.
The exhibition also includes a gallery dedicated to Edith’s friends and acquaintances, with work by Ellen Auerbach, Nell Blaine, Rudy Burckhardt, Joseph Cornell, Alberto Giacometti, Willem de Kooning, Helen DeMott, Rackstraw Downes, Philip Pearlstein, Yvonne Jacquette, Fairfield Porter, Robert Rauschenberg, Larry Rivers, Cy Twombly, Jack Tworkov and Francesca Woodman among others (full list of artists can be found at the end of this release).
Additionally a selection of ephemera including letters, photographs and diaries from the Edith Schloss Estate archive will be on view.
Art is a nourishment which is made from the fabric of our daily life but lifts us beyond it to make us see a world bigger than ourselves.—Edith Schloss, La Serra, 1976
What I really do is what any painter worth his salt has always done. I abstract color and line from life around me, and make another life out of it.—Edith Schloss
Schloss’ work is beautiful and explosive, moved at once by strength and lightness, by a vibrating breath contained in spaces that can be as small as the palm of a hand.—Toni Maraini, Rome, 2011
About Edith Schloss.
Edith Schloss is best known for knowing “everyone who counted in Manhattan’s legendary postwar art scene.” From the moment she was first introduced to Willem de Kooning by her friend Fairfield Porter, she became an integral member of the Chelsea New York art scene, which flourished around the New York School and included photographer and filmmaker Rudy Burckhardt (whom she married in 1947) and the Jane Street Group around Nell Blaine.
Born in Offenbach, Germany, Edith studied languages and art as a young student. In Florence she learned about the Renaissance and in Frankfurt she saw her first Van Gogh. In London, while working as an au pair, she learned English and was inspired by the great Greek sculptures at the British Museum, which also reinforced her dream to become an archeologist.
Norte Maar, Edith Schloss, Ravenna
Edith Schloss, Ravenna, 1947. Photographer unknown. Courtesy Estate of Edith Schloss
During the London Blitz, Edith sailed to America in a convoy. Arriving in New York she met the political refugee Heinz Langerhans, who introduced her to Bertolt Brecht, prominent Communist Ruth Fischer and others. She listened to lectures by American pragmatists like John Dewey at The Cooper Union and other great thinkers at The New School for Social Research. There never seemed to be a moment when she didn’t consider herself an artist. “Somehow I always drew, made pictures,” she wrote. From 1942 to 1946, she studied at the Art Students League of New York with Will Barnet, Harry Sternberg and Morris Kantor.
In 1945 Edith met Willem de Kooning through painter Fairfield Porter. It was a turning point. In turn she met the poet Edwin Denby, the photographers Ellen and Walter Auerbach and the filmmaker Rudy Burchkhardt. Elaine de Kooning became a staunch ally. “I happily absorbed the Chelsea climate apart from politics,” she wrote, “and I’ve settled down to paint for painting.” And she settled into loft living on West 21st Street.
Around the same time Edith met painter Nell Blaine. Together they spent “long winter nights listening to bebop records” and raced uptown and downtown “listening to Dizzy Gillespie, Charlie Parker, Lester Young and Miles Davis in person.” Edith liked jazz for its “intuitive purity and improvisation,” qualities that became important elements in her maturing work. She joined the Jane Street Group, New York’s first artist cooperative gallery founded by Blaine, Hyde Solomon, Leland Bell, Louisa Matthiasdottir, Albert Kresch and Judith Rothschild. In 1947, her first one-person show opened at the Ashby Gallery.
In 1947, Edith married Rudy Burckhardt and the couple set off to tour Europe where they met Jean Arp, Meret Oppenheim, and briefly Giacometti, Brancusi and Max Bill. Upon their return to New York, she exhibited with the Pyramid Group and American Abstract Artists. Summers were spent with Fairfield Porter and his family on Great Spruce Head Island, Maine. This retrospective includes watercolors exploring the summers on the bays and shores of Maine.
In 1949, her son Jacob was born. One of the first paintings in the retrospective, Egg Eater, c. 1952, features a bird’s-eye view of a young Jacob standing before a breakfast table set with a scattering of white antique dishes including a bowl of fruit. It’s a naive painting with historical references yet the versatility of the composition demonstrates modern avant-garde ideas.
Edith Schloss (1919-2011) “Agon,” 2000, Oil on canvas, 27 1/2 x 23 5/8 in. (70 x 60 cm). Courtesy Estate of Edith Schloss
Norte Maar, Edith Schloss
Edith Schloss (1919-2011) “Air Mail,” 1966, Oil on canvas, 23 3/4 x 19 3/4 in. (60 x 50 cm). Courtesy Estate of Edith Schloss

As Abstract Expressionism took hold in New York and action painting grew more dogmatic, Edith set aside her figurative intensions and turned to collage and assemblage “because it was in an avant-garde technique it was considered alright by the abstractionists.” Assemblage bridged her interest in writing and art and for a time, she become better known for her boxes than for her paintings. In 1961, she was included in The Museum of Modern Art’s landmark exhibition The Art of Assemblage. These boxes housed the precious things she found on beaches and on walks through the city. Sailor or Countryman (1962) is a small cupboard containing rocks, a wood carving of a boat, and a sea horse.  Night Voyage: Homage to Joseph Cornell (c. 1962) is the perfect tribute to Edith’s friend, complete with a collaged gallery label from Cornell’s exhibition at the Charles Egan Gallery in the early 1950s.
Over the years she exhibited in New York at the Tanager Gallery, Green Mountain Gallery and Ingber Gallery.