Norman L. Kleeblatt is a curator, critic, and consultant based in New York City. A long-term curator at the Jewish Museum in New York, he served as the Susan and Elihu Rose Chief Curator from 2005 to 2017. [1]
Kleeblatt has published in Art in America , Artforum , ARTnews , Art Journal, and The Brooklyn Rail . He has received fellowships and research grants from the Getty Research Institute, the Katz Center for Advanced Judaic Studies, the National Endowment for the Arts, the National Endowment for the Humanities, and the Rockefeller Foundation.
Kleeblatt serves as Secretary of the Board of the Vera List Center for Art and Politics of the New School and is President of the U.S. chapter of the International Association of Art Critics (AICA-USA). [2]
Norman Kleeblatt received his A.B. in Art History from Rutgers University in 1971, and was awarded an M.A. and Diploma in Conservation in 1975 from the New York University Institute of Fine Arts.
In 1987, Kleeblatt curated "The Dreyfus Affair: Art, Truth and Justice" (1987), which explored the relationship between art and politics by examining visual responses to the Dreyfus Affair in France. For this exhibition, Kleeblatt received the Présidence d'honneur, Comité scientifique, Société internationale d'histoire. The accompanying catalogue received an Honorable Mention from Henry Allen Moe Prize for catalogues of distinction in the arts.
"Painting a Place in America: Jewish Artists in New York, 1900–1945" (1991, co-curator) focused on the choice faced by first generation Jewish-American artists to assimilate into the American cultural mainstream or to preserve their Jewish identities. The corresponding catalogue won the Henry Allen Moe Prize (second place) for catalogues of distinction in the arts and as co-recipient also won the National Jewish Book Award in the Visual Arts Category. [3]
Kleeblatt’s 1996 exhibition "Too Jewish? Challenging Traditional Identities” confronted issues surrounding stereotypes, questions of assimilation, and the issue of Jewish identity in the multicultural art world. [4]
In 1998, Kleeblatt co-curated with Kenneth Silver "An Expressionist in Paris: The Paintings of Chaïm Soutine"—the first major presentation of Chaïm Soutine's work in New York in nearly 50years. The exhibit focused on Soutine’s reception by his patrons, supporters, and critics. Kleeblatt received Second Place for the Best Exhibition at a New York City Museum from the International Association of Art Critics (AICA) and the catalogue was a finalist for the Alfred H. Barr, Jr. Award, College Art Association of America.
"John Singer Sargent: Portraits of the Wertheimer Family" (2000) reunited for the first time in more than sixty years the twelve formal portraits of the Wertheimer family painted by John Singer Sargent. This exhibition told the story of a friendship between artist and patron and offered a unique glimpse into the world of a privileged family of English Jews. [5]
In 2001 the exhibit "Mirroring Evil: Nazi Imagery/Recent Art" contextualized controversial works by contemporary artists who employed images of Nazi villains rather than Holocaust victims. In 2008 “Theaters of Memory: Art and the Holocaust” presented eight artists’ works that related history surrounding World War II, the atrocities of genocide and mass destruction, and their attendant moral devastation.
"Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976" (2008–2009) reinterpreted Abstract Expressionism from the perspectives of influential, rival art critics Clement Greenberg and Harold Rosenberg. Kleeblatt won the Best Thematic Museum Show in New York City in 2008 from The International Art Critics Association, and the Outstanding Exhibition award from the Association of Art Museum Curators. The catalogue received a Banister Fletcher Award honorable mention [6] and a National Jewish Book Award in the Visual Arts category. [7]
“Mel Bochner: Strong Language” (2014) explored Mel Bochner's career-long fascination with the cerebral and visual associations of words. This exhibition was praised by the New York Times as an “elegantly produced exhibition” of a major New York artist. [8] Apollo Magazine called it “...a brilliantly curated show [in which] Bochner reminds us that painting is not yet dead...” [9] Yale University Press published the corresponding catalogue with essays by Kleeblatt and Bochner. [10]
In 2015, Kleeblatt co-curated “From the Margins: Lee Krasner | Norman Lewis, 1945-1952” with Stephen Brown. This exhibition offered a parallel view of Lee Krasner and Norman Lewis, two key Abstract Expressionists who were often overlooked by critics in their time. Karen Rosenberg of the New York Times called it “...a nuanced, sensitive and profound exhibition” and Robert Pincus-Witten stated in Artforum, “This richly suggestive exhibition... What a delight!” [11] The exhibit has been awarded “Best Thematic Museum Show in New York of 2014” by the US section of the International Association of Art Critics (AICA). [12]
Kleeblatt curated "John Singer Sargent’s Mrs. Carl Meyer and Her Children" with curatorial assistant Lucy Partman in 2016. Focused on Sargent’s 1896 painting Mrs. Carl Meyer and her Children, the show was called an “engrossing and intimate exhibition” [13] by the New York Times.
"Charlemagne Palestine’s Bear Mitzvah in Meshugahland" (2017) [14] was a site-specific installation of hundreds of teddy bears and plush toys related to Charlemagne Palestine's Jewish roots in Brooklyn.
Chaïm Soutine was a French painter of Belarusian-Jewish origin of the School of Paris, who made a major contribution to the Expressionist movement while living and working in Paris.
Lenore "Lee" Krasner was an American painter and visual artist active primarily in New York whose work has been associated with the Abstract Expressionist movement. She received her early academic training at the Women's Art School of Cooper Union, and the National Academy of Design from 1928 to 1932. Krasner's exposure to Post-Impressionism at the newly opened Museum of Modern Art in 1929 led to a sustained interest in modern art. In 1937, she enrolled in classes taught by Hans Hofmann, which led her to integrate influences of Cubism into her paintings. During the Great Depression, Krasner joined the Works Progress Administration's Federal Art Project, transitioning to war propaganda artworks during the War Services era.
Amy Sillman is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."
Mel Bochner is an American conceptual artist. Bochner received his BFA in 1962 and honorary Doctor of Fine Arts in 2005 from the School of Art at Carnegie Mellon University. He lives in New York City.
Marcia Tucker was an American art historian, art critic and curator. In 1977 she founded the New Museum of Contemporary Art, a museum dedicated to innovative art and artistic practice in New York City, which she ran as the director until 1999.
The Brooklyn Rail is a publication and platform for the arts, culture, humanities, and politics. The Rail is based in Brooklyn, New York. It features in-depth critical essays, fiction, poetry, as well as interviews with artists, critics, and curators, and reviews of art, music, dance, film, books, and theater.
Phong H. Bui is an artist, writer, independent curator, and Co-Founder and Artistic Director of The Brooklyn Rail, a free monthly arts, culture, and politics journal. Bui was named one of the "100 Most Influential People in Brooklyn Culture" by Brooklyn Magazine in 2014. In 2015, The New York Observer called him a "ringmaster" of the "Kings County art world." Bui was the recipient of the 2021 American Academy of Arts and Letters Award for Distinguished Service to the Arts. He lives in Greenpoint, Brooklyn.
Carlo McCormick is an American culture critic and curator living in New York City. He is the author of numerous books, monographs and catalogues on contemporary art and artists.
Cora Cohen was an American artist whose works include paintings, drawings, photographs, and altered x-rays. Cohen is most known for her abstract paintings and is often identified as continuing the tradition of American Abstraction. In a 2023 review in Artforum Barry Schwabsky suggested that "Cohen’s determination to evade stylistic consistency has made her one of the most underrated painters in New York." The New York Times' critic Michael Brenson wrote of her 1984 exhibition, Portraits of Women: "The works are dense, brooding and yet elated. The turbulence of the paint not only looks but also feels like freedom." Cohen interviewed many other artists also associated with continuing the tradition of American Abstraction for Bomb Magazine including; Ralph Humphrey, Dona Nelson, Craig Fisher, Carl Ostendarp, and Joan Mitchell. Her work has also been identified with traditions of European abstraction, and specifically German abstraction, including the work of Wols, Sigmar Polke, Gerhard Richter. She began exhibiting in Germany in the early nineties and continued to show at some of its most prestigious institutions.
Irving Kriesberg was an American painter, sculptor, educator, author, and filmmaker, whose work combined elements of Abstract Expressionism with representational human, animal, and humanoid forms. Because Kriesberg blended formalist elements with figurative forms he is often considered to be a Figurative Expressionist.
Elaine A. King is a curator, critic, professor, and editor.
Robert Carleton Hobbs is an American art historian and curator specializing in twentieth-century art. Since 1991 he has held the Rhoda Thalhimer Endowed Chair of American Art in the School of Arts, Virginia Commonwealth University, a highly ranked art department. Since 2004 he has served as a visiting professor at Yale University. He has held positions at Cornell University, University of Iowa, Florida State University, and Tehran Museum of Contemporary Art in Iran, and is known for a number of books, in-depth essays, and exhibitions.
Martha Friedman is a sculptor and college professor residing in New York City. Her work has been exhibited throughout the world in both solo and group exhibitions. Her primary exhibitor is Wallspace in New York. She has taught classes at The Cooper Union, Pratt Institute, Princeton University, Rutgers University, Wesleyan University and Yale University.
Minimalism describes movements in various forms of art and design, especially Visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Minimalism is often interpreted as a reaction to abstract expressionism and a bridge to postminimal art practices. Prominent artists associated with this movement include Ad Reinhardt, Nassos Daphnis, Tony Smith, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Larry Bell, Anne Truitt, Yves Klein and Frank Stella. Artists themselves have sometimes reacted against the label due to the negative implication of the work being simplistic.
Maurice Tuchman is an American curator. He worked as the first curator of twentieth century art at Los Angeles County Museum of Art (LACMA), where he organized several notable exhibitions.
Kim Levin is an American art critic and writer. Levin was a regular contributor to The Village Voice from 1982 to 2006. Since 2007 she has been contributing regularly to ARTnews.
Candida Alvarez is an American artist and professor, known for her paintings and drawings.
Dona Nelson is an American painter, best known for immersive, gestural, primarily abstract works employing unorthodox materials, processes and formats to disrupt conventional notions of painting and viewership. A 2014 New Yorker review observed, "Nelson gives notice that she will do anything, short of burning down her house to bully painting into freshly spluttering eloquence." Since 2002, long before it became a more common practice, Nelson has produced free-standing, double-sided paintings that create a more complex, conscious viewing experience. According to New York Times critic Roberta Smith, Nelson has dodged the burden of a "superficially consistent style," sustained by "an adventuresome emphasis on materials" and an athletic approach to process that builds on the work of Jackson Pollock. Writers in Art in America and Artforum credit her experimentation with influencing a younger generation of painters exploring unconventional techniques with renewed interest. Discussing one of Nelson's visceral, process-driven works, curator Klaus Kertess wrote, the paint-soaked "muslin is at once the tool, the medium, and the made."
Joan Rosenbaum is an American curator and was the director of the Jewish Museum from 1981 her retirement in September 2011. Rosenbaum is a speaker and panelist on art and Jewish culture related subjects. She also wrote and published articles for the Jewish Museum as well as other institutions.
Sharon Butler is an American artist and arts writer. She is known for teasing out ideas about contemporary abstraction in her art and writing, particularly a style she called "new casualism" in a 2011 essay. Butler uses process as metaphor and has said in artist's talks that she is keenly interested in creating paintings as documentation of her life. In a 2014 review in the Washington Post, art critic Michael Sullivan wrote that Butler "creates sketchy, thinly painted washes that hover between representation and abstraction.Though boasting such mechanistic titles as 'Tower Vents' and 'Turbine Study,' Butler’s dreamlike renderings, which use tape to only suggest the roughest outlines of architectural forms, feel like bittersweet homages to urban decay." Critic Thomas Micchelli proposed that Butler's work shares "Rauschenberg’s dissolution of the barriers between painting and sculpture," particularly where the canvases are "stapled almost willy-nilly to the front of the stretcher bars, which are visible along the edges of some of the works."