News & Events
Saturday Studio registration opens March 1, and closes March 23. Students will be notified of enrollment by March 30. The spring session begins April 14.
La matrícula para el Taller de Arte de los Sabados abre el 1 de marzo, y cierra el 23 de marzo. Estudiantes serán notificados de matriculación el 30 de marzo. La sesión de la primavera empieza el 14 de abril.
Featured in the essay: City Watch by Alex Podesta, 2008, commissioned by the “Art in Public Places” project administered by the Arts Council of New Orleans and funded by the Joan Mitchell Foundation.
A review of the current solo show "Joan Mitchell: The Last Paintings" was published in the print edition of FT Weekend LIfe & Arts Section. The exhibition will be open from February 3–April 28, 2012 at Hauser & Wirth's London gallery at 196A Piccadilly.
The full review is available at Financial Times, registration required.
Installed views of Untitled (1992) and Then, Last Time IV (1985) at Hauser & Wirth. Photo by Alex Delfanne.
196A Piccadilly, London
Exhibition February 3–April 28, 2012
Reception Thursday, February 2 from 6 to 8 pm
Press Release from Hauser & Wirth:
‘My paintings aren’t about art issues. They’re about a feeling that comes to me from the outside, from landscape. … Paintings aren’t about the person who makes them, either. My paintings have to do with feelings’.
– Joan Mitchell, 1974
Hauser & Wirth is proud to present an exhibition of late paintings by American Abstract Expressionist, Joan Mitchell. Created during the last decade of her life, these large-scale canvasses mark a distinct departure from her more sombre works of the early 1960s. Her late paintings, dating from 1985 to 1992, are replete with vibrant colours, energy and excitement, combining Mitchell’s admiration of the work of Van Gogh and Monet, her interest in nature and her adept skill at expressing emotions and memories.
Mitchell was born in Chicago and in 1950 moved to New York where she was one of the few female artists to participate in seminal exhibitions alongside prominent Abstract Expressionists such as Willem de Kooning, Jackson Pollock and Franz Kline. In 1959, Mitchell relocated to France. She stayed in Paris for eight years before she moved to Vétheuil where she remained for the last 25 years of her life, producing dynamic paintings despite such momentous events as the loss of close family, friends and her long battle with cancer that took her life in 1992.
Like many of the Impressionists and Post-Impressionists, Mitchell was fascinated by the French countryside and the lush landscape of Vétheuil featured prominently in her late paintings. In the diptych ‘River’, a painting of the River Seine as seen from her home, Mitchell filled two canvasses with vigorous brushstrokes in an array of greens, blues, purples, reds and a swath of yellow paint crossing the bottom of the canvas to represent the river. In ‘Sunflowers’, Mitchell again used a diptych format to depict one of her most well known subjects in the twilight of its life. In a conversation with Yves Michaud, Mitchell once said, ‘Sunflowers are something I feel very intensely. They look so wonderful when young and they are so moving when they are dying…’. With ‘Sunflowers’, Mitchell worked quickly across her canvasses, expressing her intense feeling through the intense gestures that form the unrestrained and multi-coloured flowers’ blooms. Pushing the boundaries of abstract painting, both ‘River’ and ‘Sunflowers’ illustrate Mitchell’s emotional and physical recollections of the countryside she loved.
The exhibition also features Mitchell’s late, purely abstract paintings. These works range in format including single canvasses, diptychs and tondos. The works display a radical and free use of colour and line, as well as a confident experimentation with composition, scale and physical structure. Each painting showcases Mitchell’s mature artistic style that, over a prolific period of three decades, had fully developed into a unique personal language of colour, line and form. Together, these late paintings demonstrate what Richard Marshall describes in the exhibition’s accompanying catalogue as the artist’s ‘pure joy of putting paint to canvas’.
‘Joan Mitchell. The Last Paintings’ has been organised in collaboration with Cheim & Read, New York and the Joan Mitchell Foundation.
New York, NY – The Joan Mitchell Foundation is pleased to announce the twenty-five recipients of the 2011 Painters & Sculptors Grant Program in the amount of $25,000 each.
Diana Al-Hadid - Brooklyn, NY
Nicole Awai - Brooklyn, NY
Keith Benjamin - Cleves, OH
William Cordova - Miami, FL
Cicely Cottingham - West Orange, NJ
Florine Demosthene - Brooklyn, NY
Daniel Douke - Fallbrook, CA
Julie Green - Corvallis, OR
Tommy Hartung - Ridgewood, NY
Janelle Iglesias - Provincetown, MA
Gary Kachadourian - Baltimore, MD
Simone Leigh - Brooklyn, NY
Andrew Lenaghan - Brooklyn, NY
Anne Lindberg - Kansas City, MO
Virgil Marti - Philadelphia, PA
Liz Miller - Good Thunder, MN
Jiha Moon - Atlanta, GA
Catherine Murphy - Poughkeepsie, NY
Sarah Oppenheimer - New York, NY
Kanishka Raja - New York, NY
Duke Riley - Brooklyn, NY
Chemi Rosado-Seijo - San Juan, PR
Annabeth Rosen - Davis, CA
Jackie Tileston - Philadelphia, PA
Sarah Walker - Brooklyn, NY
The Painters & Sculptors Grant Program was established in 1993 to assist individual artists. The grants are given to acknowledge painters and sculptors creating work of exceptional quality.
The Foundation selected nominators nationwide dedicated to supporting artists who are under-recognized for their artistic achievements and whose career would benefit from the grant. The candidates’ images were viewed for consideration through an anonymous process by a jury panel that convened in November at the office of the Joan Mitchell Foundation. Nominators and jurors include prominent visual artists, curators, and art educators.
Additional programs undertaken by the Foundation include free art classes for New York City youth, grants to MFA graduates to aid in their transition from academic to professional studio work, and grants to artists and arts communities in need of emergency support after a disaster.
The Joan Mitchell Foundation was established in April 1993 as a not-for-profit corporation following the death of Joan Mitchell in October 1992. The Foundation strives to fulfill the ambitions of Joan Mitchell to assist the needs of contemporary artists and to demonstrate that painting and sculpture are significant cultural necessities.
For more information on the Joan Mitchell Foundation and its recipients, please visit our website at http://www.joanmitchellfoundation.org.
Grants Program Director
CUE Art Foundation will be honoring artist Julie Mehretu and Carolyn Somers (executive director of the Joan Mitchell Foundation) at their Annual Gala Auction & Dinner. The gala will be held on Tuesday, November 15, 2011 at 6pm.
For more information or to purchase tickets, visit www.cueartfoundation.org.
547 West 25th Street, New York, NY
Reception Thursday, November 3 from 6 to 8 pm.
Exhibition continues through January 4, 2012.
Press Release from Cheim & Read:
Cheim & Read is pleased to announce an exhibition of late paintings by Joan Mitchell. The show brings together 13 works, dating from 1985–1992, that represent Mitchell’s exploration of painting in the last decade of her life. The exhibition is accompanied by a full-color catalogue with a text by Richard D. Marshall.
Joan Mitchell (1925–1992) moved from Chicago to New York in 1947. Early in her career, she was included in the historically significant 1951 Ninth Street Exhibition. Organized by Leo Castelli, the show was renowned for its championship of Abstract Expressionism, and positioned Mitchell with older, mostly male painters: Willem de Kooning, Jackson Pollock and Franz Kline among them. Mitchell met de Kooning early on—inspired by his painting, she sought out an introduction—and was a rare female participant in artistic debates at the notorious Cedar Tavern. In 1952, she had her first solo exhibition at the New Gallery.
In 1959, Mitchell moved to Paris, France. She relocated to Vétheuil (outside of Paris) in 1967, and it was there that she spent the last few decades of her life. The French countryside was a strong influence on her work. Mitchell translated its natural beauty into radiating lines and abstract knots of color—her compositions reference water, trees, and floral motifs, and channel the area’s unique quality of light and atmosphere. Mitchell’s late paintings are especially emblematic of her relationship to her environment—her physical surroundings were linked to an emotional landscape, as if her observations of nature were filtered through an internal sieve. As she said, “My paintings [are]…about a feeling that comes to me from the outside, from landscape…My paintings have to do with feelings.”
Though Mitchell abstracted nature, gleaning only its essence, her advocacy for the natural world as a subject finds precedence in the plein air and Impressionist painters a century before. As Marshall elucidates in his essay, Mitchell admired Cézanne, Monet and Van Gogh; their interpretations of the same landscape originated from similarly sensitive perceptions of their surroundings. Non-traditional palettes, and, especially in Monet’s case, a decisive deconstruction of the image, brought attention to brushstrokes and paint itself, a concern that was to be paramount for Mitchell and her contemporaries. Van Gogh’s sunflowers were also an inspiration. The motif (represented by two paintings in this show) is linked not only to Van Gogh, but also to an allegory of mortality. As in Sunflowers, 1990–91, she chose to paint the flowers in a state of decay, reinforcing her desire for the work to “convey the feeling of a dying sunflower.”
The last years of Mitchell’s life were marked by the deaths of friends and family. Her own health struggles began in the early 80s with the appearance of cancer. Painting became a refuge and an ally. While the late work still evinces a distinct confidence of gesture and mark-making, it is further characterized by an increased sense of freedom. In his essay, Marshall notes a loss of “restraint,” an “abandon,” a “paring down.” Often presented in diptych format, Mitchell’s expansive late canvases remain evocative of the landscape, but also provide room to explore a more liberated mark. Brushstrokes are energetic and colors vivid. Punctuated by airy, unpainted areas of canvas, the paintings express a sensation of urgency and immediacy, as if in rejection, denial and resistence to her failing health. Through her late work, she strived for immortality, for a merging with the timelessness and formlessness of nature: “I become the sunflower, the lake, the tree. I no longer exist.”
For more information please contact the gallery at 212-242-7727 or email@example.com
Middle School Portfolio Intensive Exhibition from 4 - 6 pm at At CUE Art Foundation.
CUE Art Foundation
511 West 25th Street, Ground Floor
New York, New York 10001
The Joan Mitchell Foundation Student Opportunities and Support Program hosts an intensive workshop to assist students in the development of portfolios for high school and college admissions.
During the Portfolio Intensive, students receive guided instructions from professional practicing artists with extensive classroom experience. The Joan Mitchell Foundation along with its partnerships is proud to present this summer's High School exhibition.
Olguinue "Jade" Alcide * Kira Britt * Tricia Browne * Samuel Dedier
Monica Estrada * Allison Leung * Helen Lin * Lillian Lin * Niko Lowery
Rosie Lu * Cristian Negroni * Monifa Mayo * Megan Pasko
Cree Payton * Auden Price-Dillon * Noah Rivera * Emel Saat
Skye Salaman * Stefanie Shih * Lyle Stachecki * Mathew Hazzell
Friday, July 22nd, 2011, from 5PM to 7PM
Peter Fingesten Gallery
at Pace University
1 Pace Plaza, 'B Level'
New York, NY 10038
(A,C,2,3,4,5 to Fulton Street)
(N,Q,R,6 to City Hall/Bklyn Bridge)
The biography of Joan Mitchell written by Patricia Albers has been reviewed by Jed Perl in The New York Times Sunday Book Review.
All the best,
Joan Mitchell Foundation