Open: Tue-Fri 11am-6pm

152 East 65th Street, NY 10065, New York, United States
Open: Tue-Fri 11am-6pm


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Sat 14 Jan 2023 to Sat 1 Apr 2023

152 East 65th Street, NY 10065 From The Back Room

Tue-Fri 11am-6pm

“Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence - a reconcentration... tearing away the veils that fact acquires through time.”
- Francis Bacon


Artworks

Russell Connor, The Docent At The Guggenheim, Vermeer-Kandinsky, 2013

Oil on canvas

609 × 609 mm

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Russell Connor, The Docent At The Huntington Library, 2013

Oil on canvas

609 × 508 mm

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Aaron Siskind, Untitled, 1970s

Photograph

508 × 609 mm

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Peter Bonner, In a Little While I'll Be Gone, 2019

Oil on panel

431.8 × 514.35 mm

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Peter Bonner, Walking At Night With The Light Of The Mangroves, 2019

Oil, pencil, watercolor and collage on panel

609 × 533.4 mm

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Agustin Fernandez, Untitled, 1964

Etching

419.1 × 508 mm

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Agustin Fernandez, Untitled from the series Lacouriere-Frelaut-H.C.8/10, 1964

Etching Paris

371.475 × 501.65 mm

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Amaranth Ehrenhalt, Tale ''Myles'',

Acrylic on canvas

457.2 × 355.6 mm

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Amaranth Ehrenhalt, Anne, 1989

Oil and acrylic on canvas

406.4 × 330.2 mm

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Amaranth Ehrenhalt, Black Bear, 2000

Marble, acrylic, wood

501.65 × 508 × 101.6 mm

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Anne Ryan, Moon Is a Flower III, not dated

Print

431.8 × 584.2 mm

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Buffie Johnson, Zero(Chaos), 1991

Oil on canvas

393.7 × 342.9 mm

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Ernest Briggs, Mexico No.2, 1950s

Oil on canvas

457.2 × 355.6 mm

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Ernest Briggs, Untitled, 1940s

Gouache on paper

571.5 × 488.95 mm

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Ernest Briggs, Untitled, 1982

Oil on canvas

457.2 × 406.4 mm

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Henri Michaux, Untitled, 1973

Acrylic on paper

374.65 × 558.8 mm

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Herman Cherry, Cocoon 5, 1988

Oil on canvas

381 × 508 mm

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Herman Cherry, Untitled, 1962

Collage

558.8 × 647.7 mm

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James Brooks, A, 1954

Oil on canvas

584.2 × 431.8 mm

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Clement Meadmore, Hereabout, 1971

Painted cast resin

139.7 × 241.3 × 127 mm

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Jeanne Miles, Green and Violet, 1970-72

Oil, platinum, gold leaf on wood

304.8 × 304.8 mm

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Jeanne Miles, Red + Green, 1993

Oil, gold leaf on wood

279.4 × 279.4 mm

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Karel Appel, Untitled, 1969

Print

838.2 × 711.2 mm

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Leonard Nelson, Untitled, 1954

Oil on canvas

558.8 × 355.6 mm

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Lorna Ritz, Tree That Turned Into a Bird, 2013

Oil on canvas

406.4 × 508 mm

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Marc Van Cauwenbergh, Passing By, 2016

Oil on linen

254 × 304.8 mm

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Mario Bencomo, Lotus Solstice, 1997

Ink, crayon on paper

330.2 × 381 mm

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Mario Bencomo, Goddess Maze II, not dated

Oil on canvas

457.2 × 609.6 mm

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Michiko Itatani, Cosmic Returning, from Quantum Chandelier 21-K-24,

Gouache, Ink, Prismacolor on Board

8 × 10 in

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Michiko Itatani, Quantum Chandelier, from Celestial Cadenza 20-K-30, 2020

Gouache, Ink, Prismacolor on Board

8 × 8 in

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Michiko Itatani, Tree House Encounter From Cosmic Theater 16-K-15, 2016

Gouache, ink on board

203.2 × 203.2 mm

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Nassos Daphnis, 2-A-92, 1992

Oil on canvas

650.875 × 498.475 mm

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Nicolas Carone, Head In Profile, 1980

Oil on canvas

609.6 × 508 mm

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Seymour Boardman, Untitled, 1980

635 × 635 mm

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Seymour Boardman, Untitled No.22, 1962

431.8 × 533.4 mm

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Swoon, Hua Hua, 2014

Swoon

Hua Hua, 2014

2-layer screenprint on chipboard with hand painting

11 3/4 × 8 in

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William Manning, Manana West #19, 2005

Collage, acrylic on wood

228.6 × 228.6 × 76.2 mm

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Installation Views

Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery Installation image for From The Back Room, at Anita Shapolsky Gallery

In a world that is so unpredictable, uncertain, and challenging, certain truths still apply. We are, willingly or by circumstances, reconnecting, rediscovering, and re-exploring, often to our delight. Art is a vessel taking us to different worlds, to our memories, habits, beliefs, and truths deeply established and embedded in us. We are, at our best, when we are connected – with family, friends, neighbors, and a community through an idea, customs, beliefs, or visual imaging.

The Anita Shapolsky Gallery, established in 1982 in SOHO, New York, is one of the pioneers, preserving and reintroducing over and over the world we recognize, but sometimes forget. Through her committed and undying work, stretching through four decades, she stands on the current art scene with a strong belief in the quality and relevance of the artists and artworks she represents. The title of the show, “From the Back Room”, symbolizes the underlying concept of our new exhibition: bringing into the spotlight art, that is familiar and known, but maybe a bit forgotten or overseen.

The artists, shown at the “From the Back Room” exhibition, have been represented by the Anita Shapolsky Gallery for years. The professional and social friendship between the gallery and some of the artists spans decades back. Many of them are immigrants or spent some of their working years abroad. Their work is recognizable, mundane, and cognizant to knowledgeable collectors and gallery connoisseurs.

There is a parallel between literature, music, and fine arts. When returning to the books and stories, music compositions, and art we once loved, our memories and emotions are triggered and we are finding comfort and pleasure. We are explorers unveiling new connections, qualities, and marvels.

The Anita Shapolsky Gallery is bringing vibrant visual stories to the newest exhibition. Although modest in size, these art pieces are true classics, created by real masters of the era that is forever part of the New York Art Scene. It is often not the kindest scene and many artists come and go, underappreciated and underknown.

Small galleries, once abundant and vital part of the New York colorful art scene, are today even more crucial for preserving, reintroducing, and bringing back the art that speaks of the past and appeals to our senses. As we are looking at and re-experiencing the masterful, sophisticated work, we can see that the work changed over time – but maybe so did we.

Let’s rediscover masterful artwork through new eyes and enjoy vibrant brushstrokes, vivid colors, and sophisticated visual stories by skillful, sometimes under-recognized artists belonging to the New York School of Abstraction.

Petra Valentova, January 2023

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The phrase “New York School” describes an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. Many of them were immigrants or veterans of the Second World War. They often drew inspiration from surrealism and the contemporary avant-garde art movements, and worked in a non-representational style, using abstract forms, bold brushstrokes, and gestural painting. The Anita Shapolsky Gallery in New York City specializes in the 1950s and 1960s New York School art and exhibits expressionism, geometric abstraction, and painterly abstraction.

Exhibiting Artists:

Peter Agostini, Karel Appel, Mario Bencomo, Seymour Boardman, Peter Bonner, Ernest Briggs, James Brooks, Lawrence Calcagno, Nicolas Carone, Herman Cherry, Russell Connor, Nassos Daphnis, Amaranth Ehrenhalt, Agustín Fernández, Michiko Itatani, Buffie Johnson, William Manning, Clement Meadmore, Henri Michaux, Jeanne Miles, Leonard Nelson, Lorna Ritz, Richards Ruben, Anne Ryan, Aaron Siskind, Swoon, Marc Van Cauwenbergh

Courtesy of Anita Shapolsky Gallery, New York

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