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Thursday, January 26, 2017
Van Doren Waxter Presents "Harvey Quaytman: Hone" (New York)
Harvey Quaytman, Marienburg, 1984. Acrylic on Canvas. 81 3/4 x 68 1/4 inches (207.6 x 173.4 cm). Signed, McKee Gallery Sticker
Harvey Quaytman: Hone February 22, 2017 – April 28, 2017
Van Doren Waxter is pleased to announce Harvey Quaytman: Hone,
an exhibition of paintings from this crucial figure of late-era
American abstraction. Opening February 22, 2017 and remaining on view
through April 28, 2017, Harvey Quaytman: Hone marks the
gallery’s first exhibition of Quaytman’s work since representation of
the artist’s estate in 2016. A fully illustrated catalogue will
accompany this exhibition with an essay by Steven Henry Madoff.
Quaytman came of age in the 70s and 80s when the art world was focused
on Neo-Expressionism, Minimalism, Conceptualism and the Pictures
Generation. Counter to these movements, Quaytman's work developed in
response to Abstract Expressionism in an attempt to develop a more
personal approach to abstraction. Harvey Quaytman: Hone
features nine paintings made between 1982 and 1990, a period in which
the artist favored paintings with a palette of white, black, blues,
yellows, vermillion, and rust which, at times, were incorporated with
crushed glass. Predicating his use of color on the basis of attraction,
Quaytman noted, “I have no specific meanings, but a color must mean
something to me before I use it. I must love that color and it must
Quaytman (1937-2002) is best known for his large scale, hard-edged
modernist paintings. Originally steeped in the vernacular of 60s
American abstraction reminiscent of Arshile Gorky and Willem de Kooning,
Quaytman found his distinctive style of abstraction in the 70s by
creating unconventionally shaped paintings dominated by one or two
colors. Harvey Quaytman: Hone features work from the 80s when
the artist began a new chapter working within a rectangular format
distinguished by bold, assertive colors. A rich palette dominates his
paintings of this period, often with a cruciform as the central
compositional anchor, a form that he later isolated evoking painting as
One of the earliest works in the show is Untitled
(1983), a rectangular painting characterized by a black window on a
white ground. The window hovers toward the outer border of the picture
with a curved edge at the lower corner—a line that replicated his
pendulum shaped works from the mid-70s. Here, the curve is incorporated
within the window, taking what was outside and bringing it in. From
1985–1988, Quaytman experimented with form and perspective as the window
is covered by the cruciform.
act of looking is paramount to understand Quaytman’s choices of
composition, medium and color. Close inspection reveals the richness of
surface and nuanced color which brings a sensuous quality to hard edge
shapes. Though an admirer of artists such as Malevich and Mondrian,
Quaytman was moved more by the spirit of optimism in Suprematist
painting than its physical properties.
Harvey Quaytman: Hone
is the first exhibition of Quaytman’s work since 2014 and the closing
of the McKee Gallery, who had been the artist’s dealer for 41 years. A
retrospective planned for 2018 at The Berkeley Museum and Pacific Film
Archive will be organized by Apsara DiQuinzio, BAMPFA Curator of Modern
and Contemporary Art and Phyllis C. Wattis, MATRIX Curator.
About Van Doren Waxter
Established in 2013, Van Doren Waxter specializes in American
Abstraction from 1950-1990 exclusively representing the James Brooks
Foundation, the Richard Diebenkorn Foundation, works on paper from the
Al Held Foundation, the Harvey Quaytman Estate, the Alan Shields Estate,
and the Hedda Sterne Foundation. Additionally, the gallery handles
secondary market works, specializing in John Chamberlain, Mark di
Suvero, Sam Francis, Helen Frankenthaler, Hans Hofmann, Ellsworth Kelly,
Franz Kline, John McLaughlin and Frank Stella, among others.
Contact Information 23 East 73rd Street New York, NY 10021 Tel: 212-445-0444