Feitelson and Lundeberg Works on View at Dallas Art Fair 2026 →

Louis Stern Fine Arts presents work by Lorser Feitelson and Helen Lundeberg among others at the Dallas Art Fair 2026 at booth G13.

Installation image courtesy of Louis Stern Fine Arts.

Lorser Feitelson: Magical Forms at Louis Stern Fine Arts, Through March 8, 2025

Louis Stern Fine Arts

9002 Melrose Avenue, West Hollywood

Gallery Hours:

Tuesday-Friday, 10 am- 6 pm

Saturday, 11 am-5 pm

Lorser Feitelson, Magical Forms, 1947. Oil on canvas, 36 × 30 in. Image courtesy of Louis Stern Fine Arts. ©The Feitelson / Lundeberg Art Foundation

Installation of Lorser Feitelson: Magical Forms at Louis Stern Fine Arts. Image courtesy of the gallery.

Installation of Lorser Feitelson: Magical Forms at Louis Stern Fine Arts. Image courtesy of the gallery.

Walker Mimms expounds on "Feitelson on Art" for the New York Times T Magazine

Walker Mimms’s article on Feitelson on Art is a must-read, giving context to the importance of Feitelson’s show within early television and the wider culture of the 1950s and early-1960s. Additionally, Mimms contemplates the show’s influence on the contemporary moment in which we consume a vast number of images stating

Its host, Lorser Feitelson, would become the interlocutor between the avant-garde and the country’s first generation of television viewers. He was personable, pedigreed and principled. Now, 60 years since its final episode, Feitelson’s show feels prophetic of a fact of visual life today: Most people experience art as filtered through a screen, for example, of a computer or an iPhone.

And yet,

it’s worth remembering this early attempt to communicate art’s ability to enhance the lives of all kinds of people.

This Feitelson did by bringing art history, including cutting edge artworks and artists, into the viewer’s home.

In describing Feitelson’s direct impact on specific viewers, and also Feitelson’s “improvisatory and deeply felt manner” and design of the show, Mimms paints a picture of the reverberating effects Feitelson on Art had on its audience and the culture at large.  He quotes laudatory fan letters sent to Feitelson and the Los Angeles NBC affiliate on which the show aired, KRCA-TV. The fan mail, contained within the Lorser Feitelson and Helen Lundeberg Papers held at the Archives of American Art, Smithsonian Institution, are also a great read, harking back to a time when people were appreciative of the cultural learning that was possible to access through televisions that were entering more and more people’s homes.

https://www.nytimes.com/2024/12/18/t-magazine/lorser-feitelson-on-art-tv-show.html

Feitelson on Art episode on Vincent van Gogh. Image courtesy of the Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002, Archives of American Art, Smithsonian Institution.

Surréalisme at Centre Pompidou

The Royal Museums of Fine Arts of Belgium and the Centre Pompidou have organized a multi-venue exhibition on Surrealism, marking the 100th anniversary of Andre Breton’s First Surrealist Manifesto. 

Each venue will showcase its unique curatorial perspective emphasizing the institution’s collection and the relationship of the country/region with the propagation, transmutation, and, in some cases, resistance to Surrealist ideas.

The exhibition began at the Royal Museums of Fine Arts of Belgium in Brussels where it was titled Imagine! 100 Years of Surrealism, and is currently at the Centre Pompidou (Surréalisme) through January 13, 2025.  The exhibition will then travel to Fundación MAPFRE in Madrid (1924. Other Surrealisms), Hamburger Kunsthalle in Hamburg (Rendezvous of Dreams), and the Philadelphia Museum of Art (Dreamworld: Surrealism at 100) where it will close in 2026.

Lorser Feitelson’s Genesis (#2), 1934, and Helen Lundeberg’s Plant and Animal Analogies, 1935, are included in the current iteration of the exhibition at the Pompidou.

Los Angeles Times Review: Space-age art pulsates with the spirit of exploration at the Palm Springs Art Museum

Christopher Knight, art critic at the Los Angeles Times, has reviewed “Particles and Waves: Southern California Abstraction and Science, 1945-1990” at the Palm Springs Art Museum. The exhibition is curated by Sharrissa Iqbal, Associate Curator of Modern and Contemporary Art at the Palm Springs Art Museum, and guest curator Michael Duncan.

Helen Lundeberg’s Among the Planets, 1961, Planet Rising, 1967, and Untitled (Sectioned Planet), 1969, are included in the exhibition. The exhibition is comprised of abstract artworks by artists who worked in Southern California alongside burgeoning technologies emerging from Mount Wilson Observatory, the Jet Propulsion Labs in Pasadena and Cal Tech.

Of the three Lundeberg paintings in the exhibition, Knight states “these exceptional abstract paintings fully unshackle imagination.”  The entire review can be read on the LA Times website: latimes.com

"Helen Lundeberg: A Union of Science and Art" by John Angus

For his Substack, “I Require Art,” John Angus has published an insightful post on Helen Lundeberg’s artwork and current exhibition at Louis Stern Fine Arts (Helen Lundeberg: Inner / Outer Space through November 2, 2024). Access to the writing can be found in Episode 43 of his Chance Encounters series and is titled Helen Lundeberg: A Union of Science and Art. The October 19, 2024 post can be found here.

Envisioning the Abstract: Helen Lundeberg and Science. Lecture by Sharrissa Iqbal, Ph.D

In conjunction with Lundeberg’s current exhibition at Louis Stern Fine Arts, Helen Lundeberg: Inner/Outer Space, Sharrissa Iqbal, Ph.D., will present a lecture exploring Lundeberg’s interest in science as evident in her early career to her later abstract works. Iqbal has written previously on Lundeberg’s painting and is particularly interested in the presence of astronomical forms throughout the artist’s career.

Louis Stern Fine Arts is a participating gallery in PST ART: Art & Science Collide. Helen Lundeberg: Inner/Outer Space is on view through November 2, 2024. To learn more about the lecture and exhibition, visit pst.art and www.louissternfinearts.com

October 19, 3:00-5:00 p.m. RSVP to info@louissternfinearts.com with your number of guests.

Louis Stern Fine Arts- 9002 Melrose Avenue, West Hollywood

Helen Lundeberg: Inner/Outer Space at Louis Stern Fine Arts, through November 2, 2024

Now on View

Helen Lundeberg: Inner/Outer Space is on view at Louis Stern Fine Arts featuring works by Lundeberg from the inception of her career to her final painting, Two Mountains. Studies drawn from Lundeberg’s biology text books portray a young artist’s curiosity with the world which characterized her ouvre, from microscopic to the cosmic. Works from Lundeberg’s Planet series and Arcanum series play upon these vantage points, as do drawings and paintings that address motifs central to her practice.

Listed by ArtForum as a “Must-See” exhibition, Helen Lundeberg: Inner / Outer Space is on view until November 2, 2024. This exhibition is part of PST Art: Art & Science Collide. For more information about the Getty initiative visit PST.art.

More information about the exhibition can be found on the gallery’s website: https://www.louissternfinearts.com

Image courtesy of Louis Stern Fine Arts. Photograph by Ernest Gibson.

The Holographic Principle at Philip Martin Gallery, through June 3, 2023

Helen Lundeberg’s Day and Night, (Cloud Shadows), 1959-1960 is included in the thought-provoking exhibition The Holographic Principle at Philip Martin Gallery in Los Angeles.  The exhibition focuses on two-dimensional work by 19 artists whose works span seven decades. The artworks represent the artists translations of three-dimensional reality onto two-dimensional surfaces. The artists consider, according to the press release, “what picture-making is, how it works, and what it means.” The exhibition explores expanded ideas of painting and more specifically abstraction. Lundeberg speaks to her relationship with abstraction saying “I have never been interested in pure, non-objective abstraction: I love, too much, the forms, perspectives, and atmosphere of our natural world…What I try to do is use abstract forms to create three dimensional forms, to suggest, to evoke…”

The Holographic Principle is on view May 6 - June 3, 2023, with an opening for the artists Saturday, May 6 from 5 – 8pm.  More information about the exhibition can be found on the gallery’s website here.

Philip Martin Gallery

3342 Verdugo Road

Los Angeles CA 90065

Gallery hours: Tuesday - Saturday 10-6.

Image courtesy of Philip Martin Gallery. Photograph by Jeff McLane.

[left] Rhema Ghuloum, Night Prayer, 2022, [right] Helen Lundeberg, Day and Night, (Cloud Shadows), 1959-1960

Helen Lundeberg: Within on view at Bortolami Gallery, New York through May 6, 2023

Bortolami Gallery’s exhibition Within features works by Lundeberg spanning the early fifties to the early seventies. It is on view now through May 6, 2023. More information about the exhibition can be found here.

Helen Lundeberg, Within, installation view, 55 Walker, New York, 2023
Image courtesy Bortolami Gallery, New York. Photography by Guang Xu.

Helen Lundeberg: Enigma of Reality a "Must See" Exhibition

Named a “Must See” exhibition by Artforum, Helen Lundeberg: Enigma of Reality opened September 17 at Louis Stern Fine Arts, West Hollywood and is on view through December 3, 2022.

This well-received solo exhibition is comprised of early figurative and “mood-entity” Post-Surrealist works created between the 1930s and 1950s. These paintings follow early post-surrealism and precede the hard-edge abstract paintings that dominated Lundeberg’s career from the 1950s. Though more painterly than Lundeberg’s hard-edge works, their resonance has similar effects: they are evocative, mysterious, and otherworldly. Many of the paintings are intimate in scale and subject matter in contrast to the works she was simultaneously creating for the WPA’s Federal Art Project; the exhibition includes portraits of her mother and her sister, minute haunting landscapes, interiors, and carefully orchestrated still lifes in the Post-Surrealist tradition, which Lundeberg founded with Lorser Feitelson. Despite the formulaic nature of her “idea-entity” Post-Surrealist works as outlined in Lundeberg’s manifesto, the Post Surrealist paintings in this exhibition create a mood, address personal subject matter: “the recurrent cycles of birth, life, and death, the permeable borders between psychological and physical space, and the ambiguities of perception and reality.”*

Helen Lundeberg: Enigma of Reality is on view at Louis Stern Fine Arts, September 17 to December 3, 2022.

*Read full press release on the gallery’s website at

https://www.louissternfinearts.com/exhibitions/helen-lundeberg-enigma-of-reality/press- release

Installation images of the exhibition can be viewed here:

https://www.louissternfinearts.com/exhibitions/helen-lundeberg-enigma-of- reality/installations

Louis Stern Fine Arts

9002 Melrose Avenue

West Hollywood, CA

Gallery hours: Tuesday-Friday, 10am to 6pm, and Saturdays, 11am-5pm

Laura Boles Faw, researcher + archivist

October 21, 2020

Lundeberg's Studio-Afternoon included in Joan Didion: What She Means at Hammer Museum

We are thrilled for the inclusion of Helen Lundeberg’s Studio-Afternoon, 1958-59, in the dynamic exhibition Joan Didion: What She Means at the Hammer Museum, organized by Hilton Als in collaboration with Connie Butler, chief curator, and Ikechukwu Onyewuenyi, curatorial assistant. Connie Butler will lead a Lunchtime Art Talk on Helen Lundeberg at the Hammer on October 26, 2022.

Lundeberg is one of approximately 60 artists whose work is included in this exhibition that is chronologically laid out in four chapters following Didion’s life according to the “places she called home.”* Lundeberg’s Studio-Afternoon, 1958-59, manifests the artist’s own sense of home and her interest in interior and exterior spaces as well as the interplay of light and shadows on their surfaces. Golden California light unites the magical landscape with the sacred space of the studio while abstracting its forms and architecture, bringing our attention to their poetic and intertwined relationships.

Joan Didion: What She Means is an “exhibition as portrait” of the California born writer and “grapples with the evolution of Didion’s singular voice as a writer, observer of place and family, and chronicler of our times.”* The exhibition is accompanied by an illustrated catalogue published by Hammer Museum and Prestel/DelMonico.

Studio-Afternoon is in the permanent collection of the Long Beach Museum of Art.

Joan Didion: What She Means at the Hammer Museum, Los Angeles October 11, 2022- February 19, 2023

Read more about the exhibition at https://hammer.ucla.edu/exhibitions/2022/joan-didion-what-she-means

Lunchtime Art Talk on Helen Lundeberg led by Connie Butler, Hammer Chief Curator Wednesday, October 26, 12:30 pm

Link to details for the talk: https://hammer.ucla.edu/programs-events/2022/lunchtime-art-talk-helen-lundeberg

Hammer Museum
10899 Wilshire Boulevard
Museum hours: Tuesday-Sunday, 11am-6pm

*Hammer Museum press release

Laura Boles Faw, researcher + archivist

October 21, 2022

FIGURAL VARIATIONS: A NEW EXHIBITION ON VIEW AT THE PHOENIX ART MUSEUM FEATURING A WORK BY LORSER FEITELSON

We are pleased to announce that Love: Eternal Recurrence, a 1930s painting by Lorser Feitelson, is now on view in a special long-term exhibition at the Phoenix Art Museum. Drawing from the Phoenix Art Museum’s rich permanent collection, the new exhibition, entitled Figural Variations, explores how the human figure has been depicted and reimagined by American artists across different periods and stylistic traditions. While past multi-artist exhibitions featuring works by Lorser Feitelson have often attempted to place the artist within the context of a particular stylistic movement, such as Post-Surrealism or Hard-Edge painting, Figural Variations will, instead, encourage viewers to investigate Feitelson’s approach to the human figure, a subject that was to inform every phase of the artist’s extensive career.

Lorser Feitelson, Love: Eternal Recurrence, 1935-1936. Oil on canvas. 54 ¼ x 66 ½ in. / 137.8 x 168.9 cm. Phoenix Art Museum, gift of Dr. and Mrs. Lorenz Anderman. © The Feitelson/Lundeberg Art Foundation.

Measuring 4 ½ by 5 ½ feet, Feitelson’s monumental composition, Love: Eternal Recurrence, was painted between 1935 and 1936 and first exhibited in the Post-Surrealist show at the Brooklyn Museum in 1936. Originally titled Perpetuity: Conjugation and Death, Feitelson later changed the title to Love: Eternal Recurrence in reference to Stoic and Nietzschean conceptions of the Eternal Return, a title which, according to Diane Moran, “expressed [Feitelson’s] own conviction that there must be eternal values in art.”[1] It was this sense of conviction that had inspired Lorser Feitelson and Helen Lundeberg to found the Post-Surrealist movement in 1934, a pictorial mode that Feitelson would explore in such works as his Love: Eternal Recurrence.

When exhibited alongside paintings by European surrealists, Feitelson’s Love: Eternal Recurrence may, at first glance, superficially evoke the illogical arrangements of objects and unconscious visions represented in the work of Salvador Dalí or Max Ernst. Unlike the European surrealists, however, whose capricious pictorial arrangements eschewed aesthetic unity to capture the inner workings of the human psyche, the Post-Surrealism of Lorser Feitelson looked beyond the transience of such psychic visions and up towards the cosmos, treating such universal themes as life, death, and genesis. “Post-surrealism is the antithesis of the introspective illustration of the popular expressionistic-Surrealists,” wrote Feitelson in 1941, “the graphic objectification of conscious and sub-conscious psychic meanderings in itself does not create art. Only when the introspective activities are integrated into an aesthetic pattern do they become legitimate elements of art.”[2] In Love: Eternal Recurrence, Feitelson creates such a unified artistic reflection on the cosmic themes of life, death, and genesis by assimilating a seemingly incongruous assortment of pictorial elements into a rationally ordered composition, a work of art capable of sustaining what Feitelson, like Immanuel Kant, termed the “universality of the aesthetic.”[3]    

When examining the painting in the context of the present exhibition, we are prompted to pay special attention to Feitelson’s treatment of the human form. The muscular back of the faceless male nude, who contorts his body into a passionate embrace with his faceless female partner, twists in a dynamic spiral of movement that recalls Tintoretto’s swirling figures in such works as his Moses Drawing Water from the Rock and The Miracle at Manna in the Scuola Grande di San Rocco in Venice. The frenetic movement that is produced as the two bodies become intertwined in an erotic union, symbolizing the generative phase of the cosmic cycle, stands in stark contrast to the pictorial stasis exhibited by the pair of small figures in the bottom left quadrant of the painting, towards whom our eye is drawn by the pendulous hand of the faceless female figure. Like a quattrocento predella, the section at the base of an altarpiece containing small painted scenes related thematically, if not temporally, to the central pictorial narrative, this bottom section of the painting shows a man and a woman whose stillness, rendered with the quiet serenity of Fra Angelico, evokes the state of quiescence that precedes and ultimately follows the dynamic spark of the generative act. If the stillness of this small couple symbolizes the passive state of existence preceding the effervescent forces of love, passion, and procreation, then the infinite sequence of tombstones that recede into background of the composition stands for the return to stasis that awaits us all at the time of death. What lies beyond this phase of the cosmic cycle is beyond the reach of the human mind, a cognitive impasse symbolized by the foreshortened tomb marker that divides the terrestrial realm depicted in the left part of the composition from the realm of the cosmos represented to the right of the vertical barrier.

That such canonical pre-modern—dare one say “classical”—prototypes as Tintoretto and Fra Angelico may be detected in this work of Post-Surrealism should come as no surprise to those familiar with Feitelson’s oeuvre. Indeed, when the aesthetic principles that were to provide the basis for Post-Surrealism were first conceived by Feitelson and Lundeberg in the 1930s, the two artists originally christened their new artistic movement: “Subjective Classicism” or “New Classicism”. Even as artists in the nineteenth and twentieth centuries had consciously endeavored to break away from the classical tradition, the works of art on display in the Figural Variations exhibition reveal that the human figure has continued to endure into the twentieth and twenty-first centuries—both as a source of artistic creativity and as a timeless expression of the human experience: an eternal recurrence.

Figural Variations is on view at the Phoenix Art Museum until June 9, 2024. For more information, please visit the exhibition’s website: https://phxart.org/exhibition/figural-variations/

Jordan Hallmark, Researcher

June 20, 2022

[1] Moran’s monograph on Feitelson, appropriately enough, is entitled Lorser Feitelson: Eternal Recurrence. See Diane Moran, Lorser Feitelson: Eternal Recurrence (West Hollywood, CA: Louis Stern Fine Arts and the Feitelson/Lundeberg Art Foundation, 2014), 74.

[2] Lorser Feitelson, “What is Postsurrealism?,” Spanish Village Art Quarterly 1 (Spring 1941): 6.

[3] Ibid.

SURREALISM IN AMERICAN ART, MARSEILLES

We are thrilled to announce that our artists are included in a major exhibition of American surrealism at Centre de la Vieille Charité, Marseille on view May 11 through September 28, 2021.

This exhibition on Surrealism in American Art, curated by Eric de Chassey, director of the National Institute of Art History and art historian specializing in contemporary American art, is one of the most ambitious projects to be undertaken by Réunion des Musées Nationaux - Grand Palais and the Museums of Marseille. The exhibition brings together major works and an innovative scientific discourse between France and the United States.

Helen Lundeberg, The Isle, 1934, oil on carton, 9 x 17 in. / 22.9 x 43.2 cm, The Feitelson/Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts.

 The exhibition catalogue was prepared under the direction of Éric de Chassey, who wrote the main text. It includes essays by Enrico Camporesi (associate researcher at the Centre Pompidou) and Lewis Kachur (professor of art history at Kean University), Guitemie Maldonado (Professor of Art History at the Beaux-Arts de Paris), Scott Rothkopf (Chief Curator at the Whitney Museum of American Art), Guillaume Theulière (Curator of the Musée Cantini de Marseille) and Sandra Zalman (Associate Professor of Art History at the University of Houston). The Feitelson and Lundeberg paintings in the exhibition have been reproduced in the catalogue and are the subject of specific analyses.

The Isle, 1934 by Helen Lundeberg and Post-Surreal Configuration: Eternal Recurrence, 1939-40 by Lorser Feitelson are works from their Subjective Classicism period which came to be known as Post-Surrealism. In works of that era, the artists were concerned about principles of subjective association within their paintings.

In The Isle, a plank with swirling wood grain suggesting tidal flow, a stone and a clamshell create an association when combined.

Post-Surreal Configuration: Eternal Recurrence reflects the cycle of life through imagery of regeneration, creativity, love and aging.

Lorser Feitelson, Post Surreal Configuration: Eternal Recurrence, 1939-1940, oil on canvas, 50 x 72 1/2 in. / 127 x 184.2 cm, The Feitelson/Lundeberg Art Foundation., courtesy Louis Stern Fine Arts.

LORSER FEITELSON: ALLEGORICAL CONFESSIONS, 1943-1945, OCTOBER 10 – DECEMBER 23, 2020

OCTOBER 10 – DECEMBER 23, 2020

The Feitelson/Lundeberg Art Foundation is pleased to announce the opening of the exhibition Lorser Feitelson: Allegorical Confessions, 1943-1945 at Louis Stern Fine Arts. For a brief period in the artist’s decades long career, between 1943 and 1945, Lorser Feitelson produced a series of about nineteen paintings best known today as the “Romantic Series” but identified by the artist as his “Allegoric Confessions”. First exhibited as a group in 1944 at the San Francisco Museum of Art (the predecessor of SFMOMA), these “Romantic” paintings display fluid brushstrokes and sensual color evoking such disparate influences as the art of late Baroque Naples and the Romantic paintings of Delacroix and Gericault. Described in 1944 by Los Angeles art critic Arthur Millier as the work of an “artist in transition”, the “Romantic” series falls chronologically between Feitelson’s Post-Surrealist Period and the abstraction of his Magical Space Forms. While it may be tempting, at first glance, to view these paintings as a radical departure from the rest of Feitelson’s oeuvre, this important exhibition allows the viewer to observe the presence of consistent themes, such as the artist’s concern for structure, which would preoccupy Feitelson over the course of his artistic career.

Exhibition of Lorser Feitelson’s “Romantic Series” at the San Francisco Museum of Art in 1944.

The artist's personal copy of the installation photograph, Lorser Feitelson, San Francisco Museum of Art, April 18 to May 7, 1944, unknown photographer.

The exhibition features thirteen paintings produced by Lorser Feitelson between 1943 and 1945. Of the thirteen paintings included in the exhibition, five can be confidently counted among the nineteen paintings exhibited in the original 1944 exhibition at the San Francisco Museum of Art. In the above photograph of the 1944 San Francisco exhibition, two paintings now on view in the exhibition at Louis Stern Fine Arts can be identified: Allegory of the Golden Apple (Configuration: Judgment of Paris) and Three Girls.

Lorser Feitelson, Three Girls, 1943, oil on canvas, 30 x 40 in. / 76.2 x 101.6 cm. © The Feitelson/Lundeberg Art Foundation, Courtesy of Louis Stern Fine Arts.

https://www.louissternfinearts.com/

Jordan Hallmark, Researcher

October 13, 2020

Exhibition at Kasmin in New York

297 TENTH AVE

MARCH 5–APRIL 11, 2020

OPENING THURSDAY, MARCH 5, 2020

Kasmin is pleased to present Valley of Gold: Southern California and the Phantasmagoric, curated by Sonny Ruscha Granade and Harmony Murphy. The exhibition “explores the aesthetic legacy of the European surrealists and others who worked with similar sensibilities on the art of Southern California. Examining the influence of this charged period, the exhibition traces how its effects percolated through later movements such as California abstraction, conceptual art, and Light and Space. “

Lorser Feitelson and Helen Lundeberg are each represented in the exhibition by two paintings.

From the press release for the exhibition: …” Helen Lundeberg—one of Los Angeles’ most significant post-surrealist artists, who published The New Classicism Manifesto in 1934 along with her husband Lorser Feitelson—recalls the other-worldly natural surroundings of the region in Untitled Composition (Landscape) (1948). “

Untitled Composition (Landscape), 1948, oil on board, 10 1/4 x 19 1/4 in/ 26 x 48.9 cm, The Feitelson/Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts

Selma, 1957, oil on canvas, 30 x 24 in. / 76.2 x 61 cm, The Feitelson/Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts

Paolo and Francesca, 1943, oil on canvas, 36 ¼ x 61 in. / 92.08 x 154.9 cm, The Feitelson/Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts

Allegory of the Golden Apple, 1943, oil on canvas, 36 x 48 in. / 91.4 x 121.9 cm, The Feitelson/Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts

Click here for press release

Work Acquired: Mead Art Museum, Amherst College Amherst, Massachusetts

Mead Art Museum, Amherst College Amherst, Massachusetts became interested in Lundeberg via their recent exhibition "Dimensionism Modern Art in the Age of Einstein,” and this has led to their purchase of Helen's Fantasy (Biological Fantasy), 1946.

Named for its founder, William Rutherford Mead (an 1867 graduate of Amherst College and a partner in the storied architectural firm of McKim, Mead & White), the Mead holds the art collection of Amherst College, celebrated for its American and European paintings, Mexican ceramics, Tibetan scroll paintings, English paneled room, ancient Assyrian carvings, Russian avant-garde art, West African sculpture and Japanese prints.

The Mead is situated in the vibrant Five Colleges academic community of western Massachusetts, and serves as a laboratory for interdisciplinary research and innovative teaching involving original works of art. Eight galleries feature regularly changing exhibitions and installations spanning a wide range of historical periods and artistic media.

https://www.amherst.edu/museums/mead

Work by Lorser Feitleson at Art Basel 2019

ART BASEL MIAMI BEACH

Booth #G6

4 - 8 December 2019

MILES MCENERY GALLERY presents “The Responsive Eye Revisited: Then, Now, and In-Between” at the 2019 edition of Art Basel Miami Beach. Previewing on 4 December, and opening to the public on 5 December, the fair will run through 8 December at the Miami Beach Convention Center in Miami Beach, Florida. Following the fair, the exhibition will travel to the gallery’s 520 West 21st Street location in Chelsea, New York. 

The exhibition includes a selection of works by contemporary artists — Beverly Fishman, Warren Isensee, Markus Linnenbrink, and Patrick Wilson — alongside artists who themselves participated in the original exhibition or were active in the decades in-between — Josef Albers, Karl Benjamin, Gene Davis, Lorser Feitelson, Frederick Hammersley, John McLaughlin, Kenneth Noland, and Al Held.

The press release, with some images, can be found at https://www.milesmcenery.com/art-fairs/art-basel-miami-beach15

PUBLIC DAYS:

Thursday 5 December, 3–8 pm

Friday 6 December, 12–8 pm

Saturday 7 December, 12–8 pm

Sunday 8 December, 12–6 pm

Untitled, March 31, 1964, oil and enamel on canvas, 60x40in./152.4x101.6cm, © The Feitelson / Lundeberg Art Foundation, Courtesy Louis Stern Fine Arts

MILES MCENERY GALLERY

520 W 21st Street New York, NY 10011
Tel: +1 (212) 445 0051