Gary Snyder Gallery is pleased to announce Al Loving: Torn C anvas\, an exhibition of mixed media constructions and works on paper at 52 9 West 20th Street. Opening on November 1\, 2012\, the exhibition is Loving 's first since his death in 2005. Five of the artist's monumentally scaled\ , dyed and torn fabric wallhangings will be on view\, as well as a selectio n of handmade paper collages\, many of which have never before been exhibit ed. A fully illustrated catalogue will accompany the exhibition\, with an e ssay by Katy Siegel.

The exhibition and its accompanying publi cation provide an in-depth look at the artist’s work from 1973 to 1985—swee ping expanses of richly colored cut and sewn fabric suspended on the wall. Works in the exhibition such as Self-Portrait #23 (c. 1973) illustrate the uniqueness and sheer dynamism of Loving's work from this period. Disenchant ed with his earlier\, hard-edge geometric paintings\, the artist dispensed with notions of centralized composition\, figure/ground separation\, and pi ctorial frame. In works like Self- Portait #23\, Loving combined literally hundreds of pieces of torn fabric into an abundance of overlapping patterns and shapes. Their rich and intuitive array of colors stretches irregularly \, extending to the floor\, encompassing the surrounding space\, and engulf ing the viewer.
Born in Detroit in 1935\, Al Loving studied p ainting at the University of Michigan\, Ann Arbor. In 1968\, Loving relocat ed to New York\, where he found himself among a milieu that included artist s Robert Duran\, Alan Shields\, Richard Van Buren\, and the dancer and chor eographer Batya Zamir. A year later\, in 1969\, Loving famously became the first African-American to have a one-person show at the Whitney Museum of A merican Art.

Throughout his career\, Loving had solo exhibitio ns at many well-known institutions\, including: Gertrude Kasle Gallery (196 9\, 1970\, Detroit)\, William Zierler\, Inc. (1971\, 1972\, 1973\, New York )\, Fischbach Gallery (1974\, 1976\, New York)\, The Studio Museum in Harle m (1977\, 1986\, New York)\, Diane Brewer Gallery (1980\, 1983\, New York)\ , June Kelly Gallery (1988\, 1990\, 1992\, New York)\, the Neuberger Museum of Art (1998\, Purchase\, New York)\, and Kenkeleba House (2005\, New York ). His work was also featured in many important group exhibitions\, such as L’art vivant aux États-Unis (1970\, Fondation Maeght\, Saint-Paul\, France )\, Contemporary Black Artists in America (1971\, Whitney Museum of America n Art)\, Lamp Black: Afro-American Artists\, New York and Boston (1973\, Mu seum of Fine Arts\, Boston)\, Another Generation (1979\, The Studio Museum in Harlem\, New York)\, Afro-American Abstraction (1981\, P.S. 1 Contempora ry Art Center\, Queens)\, and The Appropriate Object (1989\, Albright-Knox Art Gallery\, Buffalo)\, among others.

Most recently\, Loving' s work appeared in The Chemistry of Color: African-American Artists in Phil adelphia\, 1970–1990 (2005\, Pennsylvania Academy of the Fine Arts\, Philad elphia)\, Energy/Experimentation: Black Artists and Abstraction\, 1964–1980 (2006\, The Studio Museum in Harlem\, New York)\, High Times\, Hard Times: New York Painting\, 1967–1975 (2006\, Weatherspoon Art Museum\, University of North Carolina\, Greensboro)\, and Target Practice: Painting Under Atta ck\, 1949–1978 (2009\, Seattle Art Museum).

Loving's work is f eatured in the collections of major museums around the country\, including: Crystal Bridges Museum of American Art\, Bentonville\, Arkansas\; the Detr oit Institute of Arts\; the Empire State Plaza Art Collection\, Albany\; th e Metropolitan Museum of Art\; the Museum of Fine Arts\, Boston\; the Penns ylvania Academy of the Fine Arts\, Philadelphia\; the Philadelphia Museum o f Art\; and the Whitney Museum of American Art.

Gary Snyder Ga llery is pleased to represent the Estate of Al Loving.

LOCATION:Garth Greenan Gallery\,529 West 20th Street 10th Floor\nNew York\, NY 10011US SUMMARY: Torn Canvas\, Al Loving END:VEVENT END:VCALENDAR