Some works of art are conducive to concise summary. A painting by Morris Louis can be described as an abstraction filled with space of the kind Clement Greenberg called “purely optical.” Though Greenberg never gave that sort of purity a persuasive definition, his succinct accounts of work by Louis and other color field painters ushered them into their lofty places in the modernist canon. Those who tended that canon prized his concision as much as the notion that readily definable developments could be arranged in simple, seemingly inevitable sequences. Neatness counted and nothing was neater, more orderly, than art history understood as the ascent of each visual medium to its respective essence — “opticality,” in the case of painting.
Please join us on Saturday, March 7 at 2 pm, the final day of the Nancy Graves exhibition, for a panel discussion on the life and work of the artist. Moderated by Lucy Mitchell-Innes, the panelists will include Laura Hoptman, Curator, Department of Painting and Sculpture, The Museum of Modern Art, Christina Hunter, Director, Nancy Graves Foundation, New York, author and critic Christopher Lyon and artist Jessica Stockholder.
The Dorsky Museum is delighted to present Dick Polich: Transforming Metal into Art, an exhibition of work by some of the most important artists of our time who have worked with Hudson Valley Master Dick Polich. Organized by the Samuel Dorsky Museum of Art at the State University of New York at New Paltz, the exhibition will be on display from Aug 27 through Dec. 14, 2014, in The Dorsky’s Morgan Anderson, Howard Greenberg Family, and Corridor Galleries. The public opening reception is Saturday, Sept. 6, 5–7 p.m.