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"Regardless of the medium\, whether it is in Eliot or Picasso or a T V thirty-second advertisement\, I think collage is the twentieth century's greatest creative \;innovation".  \;Robert Motherwell\n

Berna rd Jacobson Gallery is proud to announce its forthcoming exhibition Rob ert Motherwell: Collage\, in the New York Gallery at 17 East 71st Street. This show follows the exhibition in the London Gallery\, fro m June 5th &ndash\; August 28th which was the most co mprehensive exhibition of Motherwell collages ever to be held.  \;The c urrent exhibit in New York is a small concise exhibit of 12 collages drawn from the much larger London show. The exhibition will run from September 25 th to November 2nd and will coincide with the Peggy G uggenheim Collection's exhibition Robert Motherwell: The Early Collages \, which opens at the Solomon R. Guggenheim Museum in New York on Sept ember 27th\, 2013

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< span style="font-size: small\;">In 1943 three young American painters\, Jac kson Pollock\, William Baziotes and Robert Motherwell\, were approached by Peggy Guggenheim and asked to produce work for the first exhibition of coll ages in the United States\, at her Art of This Century gallery in New York. Motherwell was only in his 20s - the youngest of the three painters - but his powerful new experiments were exhibited alongside the great European mo dernists including Picasso\, Ernst\, Miro\, Braque\, and Arp. As he recount s\, "Pollock and I didn't really know much about collage except that you pa sted things on. We were both intimidated by the project\, so we decided to try it together." Pollock and Baziotes soon abandoned the form\, but Mother well discovered a passion and aptitude for the medium which spurred him to continue with it throughout his career. As he says\, "I felt a magical rele ase. I took to it\, as they say\, as a duck to water."

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Motherwell's majo r innovation with the form is the torn paper edge - a technique that reflec ted his love of working with paper\, and his commitment to automatism. Furt her\, he worked on a much larger scale than his European counterparts had a ttempted\, and Americanized the medium to reflect his views that "in Europe ...people take it much more for granted that certain things are for certain people. But in America\, people believe everything is for everyone\, inclu ding abstract art." \; To this end\, Motherwell believed collage to be "a necessary invention"\, in which "one has the whole world and human histo ry as subject matter\, juxtaposition inconceivable before modern times."&nb sp\;

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The exhibition at Bernard Jacobson Gallery\, New York presents 12 w orks from the 1960s\, 1970&rsquo\;s and 1980&rsquo\;s. \; In his 1960s collages\, Motherwell incorporated "everyday" fragments\, echoing Schwitter s' merz technique developed 40 years earlier. Collages such as\, < em>Untitled 1967 (1967)\, which includes part of a mailing wrapper add ressed to Motherwell from the Times Literary Supplement\, is an example of this.

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In the 1970s and 80s\, Motherwell developed entire series of colla ges. The collage elements in these later works were often cut and torn frag ments of proofs of his own prints that he embellished with gestural brushst rokes and painted compositions\, and are demonstrative of his work with the torn edge. This technique of incorporating print fragments occurs in works such as The Red and the Black No. 44 (1987-1988) and Irish Bo ok (1989.

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Other highlights from the exhibition include\, Austra lia II (1983). The title commemorates the Australian boat that won the 1983 America&rsquo\;s Cup. It is a superb example of the torn paper techni que.

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Robert Motherwell continues the trajectory of modern European visio naries Picasso\, Braque\, Schwitters\, and Matisse\, and his advancements w ith American collage are unrivalled. As Robert Hughes suggests\, in making collage Motherwell became "the only artist since Matisse in the fifties to alter significantly the syntax of this quintessentially modernist medium."< /span>

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Notes to Editors
Bernard Jacobson Gall ery was founded in 1969\, publishing and distributing prints by artists inc luding Robyn Denny\, Lucian Freud\, David Hockney\, Leon Kossoff\, Henry Mo ore\, Richard Smith\, Ed Ruscha and William Tillyer. \; By the mid 1970 s\, having established himself as one of the major dealers in the internati onal print boom\, Jacobson began to show paintings and sculpture. \; Th e early 1980s saw the gallery open branches in Los Angeles and New York\, e xpanding the range of international artists to include West Coast American artists such as Joe Goode and Larry Bell as well as modern British masters such as David Bomberg\, Ivon Hitchens\, Peter Lanyon\, Ben Nicholson\, Will iam Scott\, Stanley Spencer and Graham Sutherland. \; From 1997\, the g allery moved more firmly into American and international art\, with shows o f artists such as Kenneth Noland\, Jules Olitski\, Larry Poons and Frank St ella. \; Recently\, the gallery has held shows by the American artists Robert Motherwell and Helen Frankenthaler\, Robert Rauschenberg\, Roy Licht enstein and Tom Wesselmann\, while European painters include Bram Bogart an d Pierre Soulages and British artists William Tillyer\, Bruce McLean and Ma rc Vaux.

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In 2011 the gallery opened a new space in New York on East 71st Street with an inaugural exhibition entitled 60 Years of Br itish Art followed by 21 Americans\, the latter showing work by major American artists including Robert Motherwell\, Helen Frankenthaler \, Roy Lichtenstein and Robert Rauschenberg. \; Bernard Jacobson Galler y also has a strong presence at major international art fairs participating at The Armory Show\, New York\; Expo Chicago\; Frieze Masters\, London\; a nd the prestigious Art Basel fairs in Hong Kong\, Basel and Miami Beach.

DTEND:20131130 DTSTAMP:20140919T204743 DTSTART:20130925 GEO:40.7713327;-73.9661781 LOCATION:Bernard Jacobson Gallery\,17 East 71st Street \n New York \, NY 1 0021 SEQUENCE:0 SUMMARY:Collage \, Robert Motherwell UID:297780 END:VEVENT END:VCALENDAR