SHADOWBOXING: Photographs by Nona Faustine and Paintings by Kit White

Opening Reception: Friday October 11, 5:30 - 7:30pm

The artists will be in attendance

“Shadowboxing is a way to exercise and train the mind to see what one has never seen, and to connect the abstract with the concrete. Faustine's photographs reveal a new way of seeing both man-made and natural monuments and places that are familiar, with a vision of the soul of the place, and the power of experience that has transpired there, or been forgotten. White's paintings bring together the concrete, documentary aspect of place or landscape, with a personal and intentional private narrative. Together, they reconnect soul to place. Both artists explore time, history and its imprint on the landscape, on the people who walk there, and on the earth.” - Lisa Banner

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FreedmanArt opens an exhibition of new paintings by Kit White

ArtDaily

April 23 2019

NEW YORK, NY.- FreedmanArt is presenting Walls and Occupied Spaces, new paintings by Kit White, opening April 16, 2019. The spaces in these paintings exist as metaphorical landscapes occupied by linear structures derived from both the organic and inorganic. Kit White's new work incorporates photographic images into his paintings as poignant backdrops to abstract lines. The photograph provides a material, worldly context for the drawing, which, though abstract, represents the real as an analog mark. This new series of works seek out images of land that have been scarred by conflict. Initially, the images were of contested spaces of what we have traditionally referred to as the Middle East, places where competing claims to land have led to war-like confrontations. Conflicts of all kinds, violent and non-violent, surround us and announce themselves through walls, barriers, and borders. These collisions, not always physical, are manifestations of the fraught politics of occupation, both actual and symbolic. The artist also found himself drawn to the photographs of Matthew Brady (1822 - 1896) and others of the Civil War, and meditating on the figurative wall born of that conflict, a psychological division that continues to separate us. view as [pdf]

Kit White

Kit White

Kit White in Conversation with Jason Stopa

FreedmanArt

April 20, 2019


As part of the Madison Avenue Gallery Walk presented by ARTnews, FreedmanArt is pleased to invite you to:

Kit White in Conversation with Jason Stopa
Saturday, April 27, Noon


"Landscape is more than the picturesque and the scenic. It articulates our collective sense of self. The spaces it describes are not merely physical, but psychological and cultural. It is a complex conflation of ambitions, affinities, identities and mythologies. Landscape is, by its very nature, political." - Kit White, 2019

Kit White Artist Statement: Walls and Occupied Spaces

March 2019

Over the years, I have approached the space of my paintings as metaphorical landscapes. They have horizons and are occupied by linear elements that act as surrogates for structures both organic and inorganic. But because paintings are wholly created spaces, the parameters by which they are judged are formal in nature. All content reaches the viewer through a formal lens. Yet, it is the other lens, the photographic lens, through which we now receive most of our knowledge of the world and contextualizes most of what we know of it. (download PDF to read full statement)

download pdf [pdf]

Kit White

Kit White

PRESS RELEASE: Kit White Walls & Occupied Spaces

Kit White: Walls & Occupied Spaces

FreedmanArt is very pleased to present Walls and Occupied Spaces, new paintings by Kit White, opening April 16, 2019. The spaces in these paintings exist as metaphorical landscapes occupied by linear structures derived from both the organic and inorganic. Kit White’s new work incorporates photographic images into his paintings as poignant backdrops to abstract lines. The photograph provides a material, worldly context for the drawing, which, though abstract, represents the real as an analog mark. This new series of works seek out images of land that have been scarred by conflict. Initially, the images were of contested spaces of what we have traditionally referred to as the Middle East, places where competing claims to land have led to war-like confrontations. Conflicts of all kinds, violent and non-violent, surround us and announce themselves through walls, barriers, and borders. These collisions, not always physical, are manifestations of the fraught politics of occupation, both actual and symbolic. The artist also found himself drawn to the photographs of Matthew Brady (1822 – 1896) and others of the Civil War, and meditating on the figurative wall born of that conflict, a psychological division that continues to separate us. Kit White studied at Harvard University, A.B. Fine Arts, Cum Laude, and had his first solo exhibition with Betty Parsons at Parsons/Dreyfuss Gallery in 1977. His work has been the subject of more than twenty- five solo exhibitions in galleries and Museums. He received a Louis Comfort Tiffany Award for painting and was a professor of painting for twenty-one years at Pratt Institute. His work is the subject of a monograph by Carter Ratcliff, Line Into Form, and Kit is the author of the international best-selling book 101 Things To Learn In Art School, published by MIT Press. A large selection of the original drawings from this book are in the collection of the Luther W. Brady Art Gallery at the Corcoran School of Art and Design, George Washington University. FreedmanArt established in 2011, serves to educate the public with an active exhibition program, guided by invitational artist exhibitions and special project conceptions both historical and new.

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Exhibition explores the transformation of common objects

ART DAILY

October 23, 2018

NEW YORK, NY. - FreedmanArt is presenting an exhibition that explores the transformation of common objects. "Hiding in Plain Sight celebrates the artist's power to transform the ordinary. As revision becomes visionary, art becomes revelatory, and we begin to see common objects as the bearers of previously unimagined possibilities." - Carter Ratcliff

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Mark di Suvero (b. 1933), Untitled (Unique Piece), 1962. Steel and iron on wood base, 16 x 14 x 12 inches

Mark di Suvero (b. 1933), Untitled (Unique Piece), 1962. Steel and iron on wood base, 16 x 14 x 12 inches

“Hiding in Plain Sight” at FreedmanArt, New York

BLOUIN ART INFO

October 5

“Hiding in Plain Sight,” an exhibition of objects common, and curious will be on view at FreedmanArt, New York through December 29, 2018. The exhibition explores the transformation of common objects. The works of art have been made of marble, bronze, or oil paint on well-prepared canvases. Modernism turned artists’ attention to fugitive materials.

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NYC Gallery Scene - Highlights

Hamptons Art Hub

September 30

FreedmanArt presents “Hiding in Plain Sight, Objects Common & Curious,” in collaboration with American art critic, writer, and poet Carter Ratcliff. An investigation of the transformation of common, found, and readymade objects, the exhibition features works by early 20th century masters through today’s contemporary masters including Alexander Calder, Joseph Cornell, Helen Frankenthaler, Pablo Picasso, Nancy Graves, Frank Stella, and Jean Shin, among others.

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Hiding in Plain Sight

PRESS RELEASE

FreedmanArt - September 27

FreedmanArt is pleased to present its next exhibition, which explores the transformation of common objects. "Hiding in Plain Sight celebrates the artist's power to transform the ordinary. As revision becomes visionary, art becomes revelatory, and we begin to see common objects as the bearers of previously unimagined possibilities." - Carter Ratcliff

view as [pdf]

Joseph Cornell, Pocket Object, 1949-1950; mixed media construction; 3 1/2 x 2 1/4 x 3/4 inches

Glenn Goldberg's Patchwork Universe

Glenn Goldberg, Guy 2 (Snow), 2011, Acrylic and ink on canvas, the New York Studio School. Photo: courtesy of the artist

To get an idea of the curious byways an artist might find himself exploring, here, in the twenty-first century, you can’t do better than head to the New York Studio School’s “Glenn Goldberg: Plums and Breezes,” an adumbrated, if somewhat bumpy, overview spanning forty years. “Plums and Breezes” begins in 1977, when Goldberg entered the Studio School as a student, and works its way to pieces of a more recent vintage by the now–Associate Professor of Painting at Queens College. Goldberg’s trajectory, and more so his landing place, offer an example of how quixotic the artist’s lot has become. Contemporary artists work in a media landscape teeming with imagery, not to mention a culture inured to the notion that art is an endeavor free of standards or definition. Creative types have been left to their own devices in ways that were unimaginable one hundred, let alone five hundred, years ago. The challenge of operating within this increasingly fluid playing field isn’t realizing an individual vision, but instead making that vision matter. Given the rabbit holes into which artists ensconce themselves nowadays, the big question is why the rest of us should feel obliged to follow. READ MORE…

Hudson Review

At the Galleries

April 28, 2018 - By Karen Wilkin

Colors, at FreedmanArt, 2018

Also on the Upper East Side, through early May, “Colors,” at FreedmanArt, brings together the work of more than twenty-five artists, all known for their inventive, expressive use of color, whether brilliant, raucous, or muted. It’s a notably diverse group of works on paper, paintings, and collages by such luminaries as Josef Albers, Jack Bush, Helen Frankenthaler, Hans Hofmann, Robert Motherwell, Kenneth Noland, Larry Poons, Susan Roth, Kurt Schwitters, and Frank Stella, among others. The gallery has been doing interesting thematic shows for some time—everything from works of art given by artists to their friends and colleagues to prints by painters who devoted a good deal of time to exploring other media. This exhibition takes as its point of departure a poem written by then twelve-year-old Zoe Kusyk, a student in Charlottesville, Virginia, a 2016 winner of “Writer’s Eye,” an annual competition held by the Fralin Museum of the University of Virginia that “challenges writers of all ages to create original works of poetry and prose inspired by works of art on display in the Museum.” Ms. Kusyk’s winning poem, titled “Colors,” was a response to a 1977 painting by Larry Poons, a cascade of liquid hues pulled by gravity into parallel but active rivulets, now remaining distinct, now mingling.

Review: "Colors" at FreedmanArt

(An Appropriate Distance) From the Mayor’s Doorstep

By Piri Halasz, April 1, 2018

A singularly inventive group show at FreedmanArt is “Colors” (through May 12). The idea for it was born when the gallery’s director, Ann Freedman, visited the Fralin Museum of Art at the University of Virginia in Charlottesville, VA last year, to see its exhibition devoted to Sam Kootz, the pioneering art dealer who early on represented Adolph Gottlieb, Motherwell & Hofmann, among others. While Freedman was there, her attention was drawn to a poem entitled “Colors” by a 12-year-old schoolgirl named Zoe Kusyk that had been inspired by a 1977 Larry Poons painting at the Fralin. The poem had won first prize in the annual competition inspired by the museum for works of prose or poetry inspired by works in the museum’s collection. The poem itemizes different colors but perfectly captures the way they all run together in the Poons painting and tells how the disparate but very human stories they tell also become one in the end.

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Blouin ArtInfo: "Colors" at FreedmanArt, New York

COLORS, February 15 - August 17, 2018 at FreedmanArt, New York

COLORS, February 15 - August 17, 2018 at FreedmanArt, New York

FreedmanArt “Colors” brings together works of more than 25 artists under one roof at its New York venue through August 17, 2018 “Colors” features artwork by Josef Albers, Lee Bontecou, Jack Bush, Friedel Dzubas, Sam Francis, Helen Frankenthaler, Glenn Goldberg, Nancy Graves, Stephen Greene, Grace Hartigan, Hans Hofmann, Paul Jenkins, Alfred Leslie, Robert Motherwell, Kenneth Noland, Jules Olitski, Larry Poons, Susan Roth, Kurt Schwitters, David Smith, Theodoros Stamos, Frank Stella, Esteban Vicente, John Walker, Kit White, and Jack Youngerman.

All the artists are known for their inventive, expressive use of color, whether brilliant, raucous, or muted. It is a notably diverse group of works on paper, paintings, and collages by such luminaries as Josef Albers among others. FreedmanArt has been doing interesting thematic shows for some time — everything from works of art given by artists to their friends and colleagues to prints by painters who devoted a good deal of time to exploring other media.

"Colors" takes as its point of departure a poem written by then twelve-year-old Zoe Kusyk, a student in Charlottesville, Virginia, a 2016 winner of “Writer’s Eye,” an annual competition held by the Fralin Museum of the University of Virginia that “challenges writers of all ages to create original works of poetry and prose inspired by works of art on display in the Museum.” “Colors,” was a response to a 1977 painting by Larry Poons, a cascade of liquid hues pulled by gravity into parallel but active rivulets, now remaining distinct, now mingling. “Our commitment is to the artist, and to bringing art and collector together. FreedmanArt serves to educate the public with an active exhibition program, guided by invitational artist exhibitions and special project conceptions, both historical and new,” says the gallery.

The exhibition is on view through August 17, 2018, at FreedmanArt, 25 east 73rd street New York NY 10021.
blouinartinfo.com

Press Release: COLORS

FreedmanArt

Opening Thursday February 15, 2018

FreedmanArt is very pleased to present "Colors," opening February 15, 2018. The exhibition will feature works by over twenty-five artists, including Josef Albers, Jack Bush, Sam Francis, Helen Frankenthaler, Hans Hofmann, Robert Motherwell, Kenneth Noland, Larry Poons, Kurt Schwitters, and Frank Stella, among others.

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Kit White at Freedman Art and the Institute of Fine Arts (NYU)

Arte Fuse
by Jonathan Goodman

June 15, 2017

Kit White, a painter of indisputably lyric accomplishment, is currently showing at two venues: FreedmanArt and the Institute of Fine Arts. Kit White, a painter of indisputably lyric accomplishment, is currently showing at two venues: FreedmanArt and the Institute of Fine Arts. White, now a mature artist is a long resident of New York City, where he has practiced a distinctive form of poetic suggestion, in which rickety, skeletal structures occupy the center of the composition, whose surrounds indicate a lonely landscape. Interestingly, though, his efforts do not necessarily derive from the New York School—even though White showed twice with Betty Parsons, a major gallerist of the movement, in the late 1970s. Certainly, he recognizes the fact that the abstract artists working shortly before him filled their paintings with inchoate, nonobjective form, intending to portray the strong emotion resulting from that form. But White is looking not so much for an expressionist intensity as he is interested in communicating a view that derives from a philosophical outlook and earlier history. A reader of contemporary poetry as well as a former student of Latin and Greek, White recognizes a time when culture was slower—a time when the act of painting was mediated by a knowledge of what preceded it, and when poetry was actually read.

Kit White: The Nature of this Place

FreedmanArt
Press Release

Opening Tuesday March 21, 2017

FreedmanArt is pleased to present The Nature of This Place, an exhibition of paintings by Kit White, opening Tuesday, March 21, 2017. From 5:30pm to 7:30pm, FreedmanArt will host a reception and a book signing with the artist to celebrate the release of the new monograph by Carter Ratcliff, Kit White: Line Into Form.

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