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New York

Parrish Art Museum

Exhibition Detail
Selected Recent Acquisitions: Building a Collection
279 Montauk Highway
Water Mill, NY 11976

November 10th, 2012 - January 13th, 2013
Hamptons Drive In, Howard KanovitzHoward Kanovitz, Hamptons Drive In,
1974, Acrylic on canvas, 42 x 90 inches
© Courtesy of Parrish Art Museum
long island/hamptons
Mon, Wed-Thu, Sat-Sun 10-5; Fri 10-8; Closed Thanksgiving, Christmas Day, and New Year's Day
works on paper, sculpture

The growth of the Parrish’s collection is a reflection of the Museum’s increasing role in the community and beyond, and allows the Museum to develop ever-richer viewer experiences. The Parrish is dedicated to providing additional context for the existing strengths, amplifying discrete thematic bodies of work, and illuminating the creative process.

The Parrish is uniquely placed within one of the most concentrated creative communities in the United States. Internationally renowned artists live and work here side-by-side with a burgeoning generation of emerging artists. Each has an individual story to tell that, contextualized by the strengths of the permanent collection, creates an intellectually and visually compelling narrative.

Over the past five years, the Parish has been fortunate to acquire a number of paintings, drawings, photographs, and sculptures created over the last thirty years, , each a resonant work of art in its own right yet further amplified by its proximity to others. Paintings by Dan Christensen, Louisa Chase, Eric Freeman, Dorothea Rockburne, and John Torreano speak to abstraction in divergent ways yet each artist’s inventive use of materials and techniques underscores the dialogue among them. Works by Howard Kanovitz, Rackstraw Downes, Julia Oschatz, and Donald Sultan are representational depictions of landscape that, taken together, prompt a reconsideration of the parameters of the genre.

The luminous presence of Costantino Nivola’s marble nearby Ross Bleckner’s expressive and lyrical arcs of paint is further evidence that surprising context can offer surprising insight, also seen in the as is the unexpected juxtaposition of the warm density of Louise Nevelson’s wall relief and Keith Sonnier’s emphatic sculpture in aluminum and neon. Sculptors have always pursued drawing as a means of “thinking on paper” and prime recent acquisitions by Alice Aycock, Mel Kendrick, and Dennis Oppenheim join works in the permanent collection by John Newman and Joel Shapiro in a revealing display in the adjacent Spine Gallery dedicated to works on paper.

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