Estate of Jack Beal
Group exhibitions have been a summer staple of the New York art scene for decades - an opportunity for lighter fare during the hottest days of the year. Gallery staff certainly enjoyed putting together this coyly written announcement for one such exhibition at the Frumkin gallery that opened fifty-four year ago, apparently organized with the intent to “fight the doldrums.” By most accounts 1968 was not a dull year, the country was wracked by assassinations and protests, at the cusp of major societal changes and with a war overseas; perhaps New York’s art-going public would relish an escape? Despite the attempt to dissuade would-be visitors to the “fitfully air-conditioned” gallery, the line-up sounds pretty thrilling. Promising a “major painting” by that year’s United States representative at the Venice Biennale, James McGarrell and new paintings by staples of the gallery roster Philip Pearlstein, Jack Beal and Peter Saul, it was also the debut of “an important new piece” by H. C. Westermann, along with work by a new addition, William T. Wiley, who had his solo debut with the gallery just that spring.
Further delving into the archives reveals that works by Robert Barnes, Maryan and Robert Hudson were also shown, that the new Peter Saul painting was “High Class San Francisco” and the Westermann sculpture, “The Last Ray of Hope.” If the goal was “vitality,” it almost certainly was achieved; it may be supposed that the weather should be checked before planning a visit however, if the gallery was closed on “exceptionally beautiful days."
Press release for Summer exhibition at Allan Frumkin Gallery, New York, 1968.
Image courtesy of the George Adams Gallery Archives.
Group exhibitions have been a summer staple of the New York art scene for decades - an opportunity for lighter fare during the hottest days of the year. Gallery staff certainly enjoyed putting together this coyly written announcement for one such exhibition at the Frumkin gallery that opened fifty-four year ago, apparently organized with the intent to “fight the doldrums.” By most accounts 1968 was not a dull year, the country was wracked by assassinations and protests, at the cusp of major societal changes and with a war overseas; perhaps New York’s art-going public would relish an escape? Despite the attempt to dissuade would-be visitors to the “fitfully air-conditioned” gallery, the line-up sounds pretty thrilling. Promising a “major painting” by that year’s United States representative at the Venice Biennale, James McGarrell and new paintings by staples of the gallery roster Philip Pearlstein, Jack Beal and Peter Saul, it was also the debut of “an important new piece” by H. C. Westermann, along with work by a new addition, William T. Wiley, who had his solo debut with the gallery just that spring.
Further delving into the archives reveals that works by Robert Barnes, Maryan and Robert Hudson were also shown, that the new Peter Saul painting was High Class San Francisco and the Westermann sculpture, The Last Ray of Hope. If the goal was “vitality,” it almost certainly was achieved; it may be supposed that the weather should be checked before planning a visit however, if the gallery was closed on “exceptionally beautiful days."