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The Club has been called "a schoolhouse of sorts ... as well as a theater, gallery space, and a dancehall...." Created by abstract expressionist sculptor Philip Pavia, The Club grew out of the informal gatherings among dozens of painters and sculptors who all had art studios in Lower Manhattan between 8th and 12th streets and First and Sixth Avenues during the late 1940s and early 1950s. Membership included many of New York's most important mid-century artists and thinkers, predominantly painters and sculptors like Willem de Kooning, Franz Kline, Isamu Noguchi, John Ferren, and Robert Motherwell, as well as nearly all the artists later called the New York School. But other celebrated artists, cultural figures and major 20th-century thinkers attended meetings, including philosopher Joseph Campbell, composer John Cage and political theorist Hannah Arendt. Structured to facilitate the growth and dissemination of ideas about art by artists for artists, especially abstract expressionist art, The Club lent New York's art scene the vitality and international influence Paris had long monopolized, and U.S. artists had long craved.
It is. A Magazine for Abstract Art was an influential limited edition fine arts magazine that only published six issues in its seven years of existence. Founded by the abstract expressionist sculptor Philip Pavia, the magazine's contributors included a who's who of some of the 20th century's most important artists. Although it primarily focused on painters and sculptors like Willem de Kooning, Franz Kline, Helen Frankenthaler, Jackson Pollock and Isamu Noguchi, it also published artists of other kinds, like musician John Cage and poet Allen Ginsberg. Collectively, the magazines served to catalyze, and catalogue, the contemporaneous life cycle of abstract expressionist thought, from creation to mature expression. Reference to the magazine appears in the archives of Picasso, Motherwell and André Breton, as well as collector Peggy Guggenheim, critic Clement Greenberg and nearly two dozen others.
Gendai Bijutsu Kondankai was a study and discussion group founded in 1952 to facilitate interdisciplinary and cross-genre exchanges among Japanese artists based in the Kansai region. Among the participants were key figures of Japanese avant-garde art after World War II, such as calligraphers Shiryū Morita, Yuichi Inoue and Sōgen Eguchi, potter Yasuo Hayashi, and painters Waichi Tsutaka, Kokuta Suda, Jirō Yoshihara and future members of the Gutai Art Association. Genbi's activities, which included monthly meetings and group exhibitions, ceased in 1957.
References
- ↑ Stanley I. Grand (Jr) (1993). Allegories of freedom in the paintings of Paul Georges. University of Wisconsin--Madison. p. 17.
- ↑ Arnold W. Foster; Judith R. Blau (28 July 1989). Art and Society: Readings in the Sociology of the Arts. SUNY Press. p. 264. ISBN 978-1-4384-0307-6.
- ↑ Marta Herrero; David Inglis (2009). Art and Aesthetics: Investigating contemporary art worlds. Routledge. p. 163. ISBN 978-0-415-45015-7.
- ↑ Saturday Review. Saturday Review Associates. 1971. p. 86.
- Archives of American Art- papers of the Alliance of Figurative Artists, 1970
- Diana Crane, The Transformation of the Avant-Garde, 1987
- Foster and Blau, ed. Readings in the Sociology of the Arts, 1989
- Lynne Munson, Exhibitionism, 2000
Phoebe Hoban, Alice Neel, The Art Of Not Sitting Pretty p. 278
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