Exhibitions

Jasmina Danowski’s work has embodied a purity of approach over the years that is consistent and inspiring.

She has technically honed her skills over years of dedicated practice but remained unfettered in her intuitive approach to painting.

The result is her work resonates with authenticity and she has carved out a distinctive genre that she truly owns.

We see her as one of the most captivating and vital artists of our time in the realm of abstracting nature.

This selection brings together leading figures of 19th-century and early 20th-century American art, showcasing luminous landscapes and refined figure painting that reflect the nation’s artistic ambition, natural beauty, and cultural confidence.

Archer Defterios (b. 2000), is a Greek-American artist based in Los Angeles, California, known for his richly layered, process-driven work that explores the interplay of color, light, and texture. Using a mix of acrylics, oils, and even fire, Defterios creates surfaces that appear minimal at first glance but reveal complex underlayers upon closer inspection. His work often conceals vivid color palettes beneath restrained compositions, encouraging a slower, more contemplative viewing experience. In June 2025, debut solo exhibition, Under Marble, featured a body of work that emphasized materiality and process, deeply informed by the textures and landscapes of Greece.

Theodoros Stamos (1922-1997) is notable for his early use of color to explore possibilities of abstraction and form in painting. Youngest of the first generation of Abstract Expressionist painters and youngest member of the “Irascibles,” the vanguard group of American artists memorialized in Nina Leen’s 1950 photograph, Stamos developed an expressive color field process (Color Field Painting) or Post-Painterly Abstraction as Clement Greenberg referenced this painting style. Stamos, a major contributor to the Color Field Movement, was once quoted as saying: “…my feeling was to create more infinity with color…”

Taylor Graham presents a curated selection of paintings, sculpture, and photography by artists who capture the essence of the American Southwest. These works celebrate the region’s complex history and cultural identity, blending traditional American themes with both historical and contemporary perspectives.
Bill Barrett, working from his Santa Fe studio, creates sculptures deeply influenced by the Southwest landscape. His monumental works, displayed globally, and locally, including his LV III, located at the Appaloosa Public Library in Scottsdale, just miles from the Scottsdale Art Week fair venue.
Don Totten, influenced by California’s light and landscape, created distinctive Modernist canvases between the late 1940s and 1960s. A follower of Stanton Macdonald Wright, Totten’s work uniquely merges European modernist sensibilities with his own innovative approach.
Formento and Formento’s photography, meticulously staged and lit with local models, captures the essence of place. Their Circumstance series (2008-2010), partially shot in Palmdale, California, exemplifies their ability to evoke the soul of a location.
Carl Holty, a key figure in the American Abstract Artists movement, trained under Hans Hofmann in pre-war Germany and lived in Paris among leading Modernists. Among his finest Color Field canvases are the Southwestern-inspired compositions that reflect the open spaces and vast colors of the desert.
Francisco Zúñiga, born in 1912 in Mexico, is renowned for his expressive depictions of the human form, rooted in his Mexican heritage. While closely linked to Mexican culture, his sculptures also speak to the Southwestern U.S., reflecting the shared historical and cultural exchange between Mexico and the region.
This collection bridges past and present, offering both a historical reflection and a contemporary conversation about the Southwest’s identity and its role in the formation of an American art tradition.

There are moments in art when an artist’s presence in a specific environment, coupled with contemporary materials and technological advancements, results in singular works that are truly unique and irreplaceable. It’s even more thrilling when, years later, these works not only retain their relevance but have gained freshness and pertinence with time.

Masters of Technique 4 showcases five exceptional works spanning a quarter century, each reflecting the masterful techniques and thematic richness of their respective eras. Included are a portrait of a Marquise depicted as Diana, the goddess of the hunt, a vibrant market scene featuring porcelain vendors masterfully rendered in ink, a painting of Cerce, a veiled reference to Dutch sea trade and maritime exploration, a sensitive floral still life exemplifying refined observation of nature, with delicate brushwork that captures ephemeral beauty, and a portrait of three children, marveling at a parakeet, capturing both innocence and curiosity.

In Masters of Technique part 3 we continue to explore the artistic brilliance of late 19th century Europe, a period that heralded significant advancements in technique and expression. This ongoing exhibition highlights a selection of paintings that we feel exemplify the era's commitment to capturing both the beauty of everyday life and the emotional depth of human experience.

In Masters of Technique part 2 we explore the artistic brilliance of late 19th century Europe, a period that heralded significant advancements in technique and expression. This ongoing exhibition singles out a selection of works that exemplify the era's commitment to capturing both the beauty of everyday life and the emotional depth of human experience.

Among the highlights is a captivating painting of a Paris street scene in the rain, where Loir skillfully employs broken brushwork and a muted palette to evoke the atmospheric interplay of light and reflections on wet cobblestones. This scene celebrates the urban vibrancy of Paris and immerses the viewer in a moment of a bustling city evening.

Two stunning floral still lifes, each showcasing the artists’ mastery of color and texture are included. De Noter’s arrangement, bursting with vivid blooms and succulent fruit, is meticulously rendered to capture the transitory beauty of nature. Lamy’s still life features a thick harvest of chrysanthemums laid out on a table, exemplifying a more subdued yet equally compelling approach to the genre. Here, flecks and dabs of paint evoke the intricate details of each petal, while a harmonious color palette enhances the emotional resonance of the composition.

In the realm of sculpture, a striking bronze depicting a racehorse and jockey who have just completed a competition, embodies the dynamism of late 19th century bronzes. Bonheur’s intricate attention to anatomical details and the fluidity of motion captures a moment of rest after the exhilaration of speed. The interplay of finely chased surfaces not only emphasizes the horse’s powerful musculature but also conveys a sense of energy and life, characteristic of the era’s fascination with movement and vitality.

Adding to the emotional depth of the exhibition is an intimate portrayal of a nursing mother who, returning from an evening out, has hastily discarded a glove to the floor and neglected to remove her bonnet. It is a tender scene which highlights the profound connection between mother and child. Steven’s sensitive treatment of light enhances the nurturing atmosphere, transforming an everyday moment into a universal expression of love and intimacy.

Together, these works reflect the late 19th century’s exploration of technique and emotion, where artists embraced innovation to elevate the ordinary into the realm of the extraordinary. Our Masters of Technique series invites you to engage with the rich visual language of the time, celebrating the unique ability of art to capture the essence of life in all its complexity.

Kicking off a four-part series this Fall, we will spotlight remarkable paintings from the 19th century through Impressionism. This genre is enjoying a revival in today’s market, particularly in contrast to contemporary works, and offers attractive pricing.

America saw the emergence of two prominent schools of abstraction, established on the East and West coasts from the late 1930s through the 1970s. On the West Coast, artists like Clifford Still, Mark Rothko, and Richard Diebenkorn led the way in exploring abstraction, paving the path for successors such as Don Totten, who continued this artistic evolution.

Don Totten exhibited a remarkable talent for visual storytelling, creativity, and narrative sensibility from an early age. His formal art education took him to the Otis Art Institute in California, where he delved into color theory, composition, and expressive form.

In the late 1920s, Totten joined the Los Angeles Art Students’ League, where he studied under the mentorship of Stanton Macdonald Wright. Wright's European training and guidance significantly enhanced Totten's technical abilities and color sensitivity. The development of the Synchromism movement by Wright also profoundly influenced Totten, leaving a lasting impact that would resonate throughout his career.

From 1938 to 1940, Totten served as the Director of the League, skillfully navigating the challenges posed by the Great Depression and World War II. His own work is marked by a level of quality, sophistication, and appeal that is truly impressive. A dedicated artist, Totten focused on his craft rather than self-promotion.

At Taylor | Graham, we proudly include Totten alongside notable artists such as Edward Dugmore, John Grillo, John Saccaro, MacDonald-Wright, and Sam Francis.

Danowski masterfully transports viewers into immersive realms, where expansive spatial dimensions and intricate landscapes unfold. Rather than portraying nature or still-life in a literal sense, she explores the deeper implications of her creative process. Her work artfully balances abstraction and representation, merging forms with both unity and individuality. Through her nuanced compositions, she invites viewers to balance both explicit and implied meanings.

EXPO CHICAGO showcases leading contemporary and modern art galleries each April at Navy Pier’s Festival Hall, alongside a diverse and inventive program of talks, on-site installations, and public art initiatives.

Taylor Graham's selection of paintings and sculpture this year celebrate a diverse range of abstract technique, style, and visual language though are united in a shared commitment to abstraction, experimentation, and the exploration of form, color, and motion.

A student of American painter Arthur B. Carles, Piper skillfully embraced the use of vibrant colors to abstractly depict her subjects ranging from still lifes to landscapes. Her distinctive and innovative use of white sets her apart from her contemporaries. The white transcends its conventional role, serving simultaneously as a solid presence, spatial void, a counterweight, and a source of ethereal light. Piper’s work not only exudes an irresistible allure but stands as a serious intellectual contribution to the narrative of American Abstraction. Recognized by colleagues and critics alike as one of Philadelphia’s foremost painters and teachers, she enjoyed a career that spanned fifty years and included thirty-five solo shows.

This curated booth is a celebration of the diverse expressions that abstraction can take within the spectrum of a single color – blue. Known for its profound ability to evoke emotions and stir the soul, the color blue, in its myriad shades and hues, serves as a catalyst for introspection and contemplation. From ethereal cerulean to deep navy, the artworks in this booth evoke a sense of mystery, inviting viewers to delve into the nuances of their own emotions.

Miami’s original and longest running contemporary art fair and second most attended fair globally, Art Miami is consistently recognized as a leading destination for the acquisition of the most important works from the 20th and 21st centuries in collaboration with the world's most respected galleries.

Taylor Graham will feature a select group of international painters and sculptors active from the second-half of the 20th century through the early 21st. Highlights will include Color-Field paintings by Modernist Carl Holty, a founding member of the American Abstract Artist's Group, stain paintings by Vivian Springford, notable for their radiant energy and color, ultra-minimalist "landscapes" by French painter Francois Aubrun, and Jane Piper's abstracted still-lifes. Sculpture by Italian sculptor Arnoldo Pomodoro, French Antoine Poncet, and Yugoslavian born Vasa Mihich will compliment the paintings adding another dimension to the selection.

“The act of painting is a solitary one and one should never fear solitude if one wants to paint. Painting is not a job: it is a path that can only be followed in solitude”

—François Aubrun

In his awareness of this solitude, François Aubrun painted without cease for sixty long years until the end of his life in 2009. From the studio he installed in the church of Saint-Joseph at Le Tholonet, next door to Cézanne's studio and overlooking Mont Sainte-Victoire, he expressed the inexpressible: the transparency of the morning mist “when in the morning it is more heavy than the sky above, and throughout the day all turns around until it is the sky that is heavier.” His art is profoundly Naturalist. He searched the ever-changing sky for its “liquidity”—by which he meant “the feminine, the river, the Seine, the mists on Mont Sainte-Victoire…” in order to evoke all its light, and all its silence.

François Aubrun was born at Boulogne-Billancourt on the 29th of October, 1934. He studied painting at the Section d'Or of the Academy of Paris under the tutelage of the painter Jean Souverbie. It was while travelling around France with his grandfather at the age of fifteen that he first discovered Aix-en-Provence; two years later, he studied sculpture there with Paul-Françoise Niclausse, and in 1951 stayed, drew and painted in the region. In 1953, he entered the preparatory class at the École Nationale Supérieure des Beaux-Arts in Paris, where he studied painting, and from 1954 to 1961 he took courses in monumental art and lithography.

In 1956, he married Martine Bassot, who would give birth to their six daughters, Caroline, Isabelle, Marie-Pascale, Dorothée, Delphine and Segolène. He exhibited his paintings for the first time in 1957 in Paris. In 1960, he took up residence at the estate of Saint Joseph along with his wife, and continued to work there until his death.

He was made a citizen of Honour of the city of Aix-en-Provence in 2007. He taught painting at Luminy, at the University of Marseilles, and then at the National School of Decorative Arts of Nice. He was appointed Director of the École des Beaux-Arts of Toulon from 1974 to 1980, then held tenure as professor of painting at the École Nationale Supérieure des Beaux-Arts in Paris until 1992. Wherever he went, he drew and he painted: in Greece in 1966; in Egypt in 1982; in the Bay of the Somme in 2001. He exhibited regularly in France and abroad, notably in the United States, Canada, Germany, Belgium, Switzerland, Italy and Spain. François Aubrun died in Paris on the 5th of February, 2009.

Emerging in the mid-20th century when male dominated Abstract Expressionism was monopolizing the American art scene, Vivian Springford carved out a unique niche with her innovative and distinctive stain paintings. Not as widely recognized during her lifetime as some of her contemporaries, her work has gained increasing attention and acclaim in recent years. Collectors and art historians have come to appreciate the beauty and unique quality of her work, cementing her status as an important figure in the history of American abstract art.

Springford's Expansionist & Burst series of paintings utilize translucent washes and layers of color thinned and poured or dripping onto her canvas then allowed to soak and spread to create ethereal, luminous effects. This technique is often associated with the broader movement of Abstract Expressionism, but Springford's approach was distinct and formed a bridge between Abstract Expressionism and the Color Field movement. One of the most striking aspects is her masterful use of color and light, a testament to her fascination with the interplay between hues and their ability to evoke emotion. Frequently employing a palette of soft pastels and vibrant jewel tones, she created a sense of both serenity and dynamism within the same composition.

Over the course of history, the use of paper as an artistic medium evolved from a fundamental support for sketching and printmaking into a dynamic medium that responded to changing artistic ideologies, social contexts, and technological advances. Its adaptability, portability, and accessibility contributed significantly to the artistic achievements and innovations especially as abstract ideas about what is art gained prominence in the mid-20th century.

In this exhibition, 20th and 21st century artists illuminate a variety of techniques and innovative uses of one of the oldest artistic materials known.

Emerging in New York in the 1940s and 50s, Abstract expressionism was as a style of painting that emphasized spontaneous and gestural brushstrokes and embraced the physical act of painting itself. The impact of this movement’s radical departure from traditional representational art had a profound impact on non-European painters, especially those from Latin America and Asia, many of which were seeking to break away from the European artistic traditions that had dominated their countries for centuries and were looking for new forms of expression.

Combining elements of culturally traditional painting with the gestural brushstrokes and bold color palette of abstract expressionism, this group of artists sought to create a unique fusion of Eastern and Western styles. Featuring bold, abstract forms, they embraced the spontaneity and energy of the Abstraction Expressionist movement, fused with traditional motifs, creating new and innovative styles that reflected their own cultural heritage. Through their work, they helped to bridge the gap between Eastern and Western art and paved the way for the development of modern and contemporary art in Asia.

American Artists Carl Holty, Edward Dugmore and Jack Roth each made significant contributions to the development of modern art in the United States though their artistic styles and approaches differed from one another significantly.

Carl Holty was a German-born American abstract painter who was instrumental in the formation of the Post-War Abstract Expressionist movement. Known for his use of bright colors and geometric forms, his work evokes a sense of cosmic energy and dynamism. Holty often sought to create a sense of harmony and balance through his use of color and form.

Edward Dugmore, on the other hand, was an American painter and sculptor who was associated with the Minimalist movement. He was known for his spare, minimalist compositions that emphasized simple shapes and clean lines often characterized by its starkness and austerity, sense of purity, and simplicity.

Jack Roth, meanwhile, was an American painter who was associated with the Color Field movement. He was known for his large, abstract canvases that featured bold, vibrant colors and subtle variations in hue and tone. Roth's work was often characterized by its luminosity and depth, and he sought to create a sense of radiance and transcendence through his use of color.

In abstract art, color is often the dominant means of expression and communication. Given primacy over form, line, and content, it leans heavily on the power to convey emotions, moods, and sensations. Common among the artists in this exhibition is their use of color however each have a unique approached, Komarin symbolic and energetic, McDonnell moody and mysterious, Zinsser tactile and explosive, and Stamos atmospheric and serene.

A master of Post-Painterly Abstraction, Gary Komarin has been at the forefront of contemporary art for over a half century. With a bold and colorful style recognized by collectors and curators worldwide, the viewer is invited to enter the intimate space where a dialogue is established between painter and painting.

Mary McDonnell paints complex meditations in color, form, and texture. Utilizing bold brushstrokes, muted colors, layering, and symbols, she creates dynamic and visually striking compositions that evoke a fluid, organic sensations.

Theodoros Stamos, a member of The Irascibles, is best known for his abstract paintings that explore the relationship between color, light, and space who’s legacy as an influential Abstract Expressionist painter endures to this day.

John Zinsser’s paintings, minimalist and monochromatic, are exciting, gestural explorations of space. Weather using subtle transitions from opaque to translucent washes or impossibly thick impasto, layering and interlacing is a large part of Zinsser’s innovative work and the key to his ability to suggest great depth.

Sculpture is three dimensional by nature however kinetic sculpture further explores themes of motion, time, and change, and is meant to be experienced through movement and offers a continuously changing visual experience for the viewer. Rounding out the exhibition are kinetic sculptures by Jose De Rivera, Jerome Kirk, and Roger Phillips.

Works by Milton Avery, his wife Sally Michel and daughter March together with works by Wolf Kahn. What unites these four painters is their love of color, form and light. Running concurrent to this exhibition are the folded acrylic sculptures of Mimi Herbert.

ABSTRACTION IN ART 1950-1970

Taylor Graham and Vallarino Fine Art are pleased to announce a new exhibition titled Abstraction in Art, 1950-1970 at their Greenwich location, 80 Greenwich Avenue, February 13th, 2023. It features over fifty paintings and sculptures and will continue through March 2nd.

A survey of post-war abstract art movements including Abstract Expressionism, Color Field, Hard Edge, Minimalism and Op-Art. These works were at times, intense, spontaneous and deeply expressive, and represented an unparalleled period in American art.

The show hours are Tuesday through Saturday 10:00am to 5:00pm with additional hours available by appointment.

Taylor Graham and Vincent Vallarino Fine Art have over 35 years of experience with locations in both Greenwich and New York City and have become an important “Fine Art Market Resource” with an unrivaled inventory offering exceptional service to museums, designers, and collectors.

On view at our New York location, through the month of January, will be master works by Americans and Europeans working in the late 19th through the early 20th Century.

Taylor Graham will install a stunning and futuristic selection of 13 cast and laminated resin sculptures by West coast artist Vasa Velizar Mihich (b. 1933). Mihich pioneered this realm to a great extend along with other artists from the Light and Space movement in California such as Peter Alexander and Fred Eversley in the 1960’s and 1970’s. To see these works mounted as an installation is significant and rare as Mihich consistently sold each work as it was produced and they are rarely seen in such a display. These sculptures are becoming highly sought after in the market and are rare.

Complimenting our installation of works by Mihich, we will be exhibiting paintings and works on paper by Larry Poons, Gene Davis, Carl Holty, Jane Piper, Sally Michel and March Avery, and Cleve Gray. Other sculpture will be on view including works by Harry Bertoia, Ibram Lassaw, Antoine Poncet, and Jerome Kirk. Booth AM416

In his awareness of this solitude, François Aubrun painted without cease for sixty long years until the end of his life in 2009. From the studio he installed in the church of Saint-Joseph at Le Tholonet, next door to Cézanne's studio and overlooking Mont Sainte-Victoire, he expressed the inexpressible: the transparency of the morning mist “when in the morning it is more heavy than the sky above, and throughout the day all turns around until it is the sky that is heavier.” His art is profoundly Naturalist. He searched the ever-changing sky for its “liquidity”—by which he meant “the feminine, the river, the Seine, the mists on Mont Sainte-Victoire…” in order to evoke all its light, and all its silence.

Taylor Graham presents a selection of works from every period of the artist's life at their Greenwich CT location.

Over the course of a career spanning more than fifty years, Cleve Gray produced a prodigious, varied, and inspiring body of work that bears testimony to a brilliant and challenging mind. Working in varied conventional and unconventional techniques including pouring, staining, and sponging, Gray often employed gestural marks and signs creating lyrical abstract compositions.
On view at Taylor Graham are 13 works including two gestural paintings from his Thrust and Considering All Possible Wolds series. Inspired by Chinese and Japanese calligraphy, and in particular Zen painting, these works do not relate to anything in particular rather to the act of painting itself. At the heart of the exhibition we highlight three canvases Gray painted in Hawaii in 1970 during his Ford Foundation artist-in-residency at the Honolulu Academy of Arts. While in residence on the island of Ouahu, an during his frequent trips to the other islands with his family, Gray experienced spectacular views of waterfalls, blowholes, native plants, vines, and lava flows, all of which greatly influenced his choice of color and composition.

By the 1960s, Washington D.C. born Gene Davis had become a central figure of the Washington Color School who’s members included Kenneth Noland, Howard Mehring, Morris Lewis, and Howard Mehring. Their 1965 exhibition called The Washington Color Painters at the now defunct Washington Gallery of Modern Art, and which traveled to the Walker Art Center, solidified the style as Washington’s signature art movement. Though he worked in a variety of media, Davis’ best-known paintings, executed over a twenty-seven year period, are the vertical stripe works in acrylic on unprimed canvas, including our five Flamingo paintings from 1970. Though he himself was not a musician, Davis referred to the repetition of colored intervals as being akin to musical rhythm. It was his suggestion that, when looking at his paintings, one begins by “… simply glancing at the work, select a specific color and take the time to see how it operates across the painting. Enter the painting through the door of a single color, and then you can understand what my painting is all about.”

Though the Washington Color School of painters were part of a larger movement in art concerned with non-representational painting, the general structure and order of their canvases separated them from the contemporary movement of Abstraction Expressionism.

Known as the most luxurious and sophisticated showcase of its kind in the United States, the 19th Annual Palm Beach Show returns February 17-22, 2022 to the Palm Beach County Convention Center over Presidents’ Day Weekend.

Best known for his large color field canvases from the mid 1950s through the 1960s, German born American Abstractionist Carl Holty had a lively and prolific early career. Beginning in the mid 1920s in Germany under Hans Hofmann, Holty moved to Paris in the 1930s where he exhibited with the Abstraction-Création group founded by Theo van Doesburg. Holty embraced all of the “isms” Paris had to offer, Synthetic-Cubism, Biomorphism, Neo-Plasticism, producing a diverse but cohesive body of drawings and paintings in ink, graphite, and gouache. Returning to New York, Holty reconnected with Vaclav Vytlacil, whom he had met in Paris, joining him in the foundation of the American Abstract Artists group. It was at this time Piet Mondrian, recently arrived in New York himself, convinced Holty to embrace pure abstraction.

Taylor Graham will dedicate their exhibition to newly rediscovered early works in oil and collage by the German born American Abstractionist Carl Robert Holty. In a career spanning four decades, Holty became known for his biomorphic abstract forms as well as his geometric abstractions painted with a vibrant color palette. Indelibly linked to both the Abstract Expressionist and Geometric Abstractionist art movements, Holty was a major proponent of Modernism in the United States and was a contributory influence to the world of American painting.

Never before has the heart-pounding excitement of an international fine art fair come to the center of bustling Southampton Village to celebrate the East Ends’ new booming art scene. This year, over 70 international art galleries from across the country and world will showcase their most important 20th and 21st-century art in real life and simultaneously digitally all over the world. There will be over 400 revered artists on display, with a focus on accomplished Black artists, hot emerging artists, the blue-chip masters, and an M.C. Escher display.

Market Art + Design, the East End's premier art fair, returns to The Bridgehampton Museum in August of 2021. Taylor Graham will exhibit masters of the late 20th century including three paintings by Wolf Kahn, a wood construction by Deborah Butterfield, Kinetic sculpture by Lin Emery and Roger Phillips, light and space sculpture by Vasa Velizar Mihich, Abstract Expressionist and New York School works by Robert Goodnough and Michael Corinne West, among other works.

The American Art Fair's online event, May 15 - 22nd, kicks off with an in person open house, May 15th from 11 am - 6pm. On view at Taylor Graham are selections from inventory and new acquisitions. Highlights include Robert Richenberg’s MOMA Collage, included in the Museum of Modern Art’s 1961 exhibition The Art of Collage, a marvelous Self-Portrait by Larry Rivers painted in 1961, two rural landscapes by Wolf Kahn and a New York City scene, At Madison Square, by Guy Wiggins. Sculpture highlights include José de Creeft's masterful direct carved Ecstasy in alabaster from 1956, Elizabeth Catlett's striding bronze Stepping Out, 1987, and Boris Lover-Lorski's gleeming burnished bronze Cretan Dancer, 1930.

Just Off Madison returns this Spring with an in person open house at Upper East Side American galleries. On view in the main room at Taylor Graham are a group of hard edge abstractions by Americans from the mid 1960s through the mid 1970s including Julian Stanczak, Gene Davis, Ilya Bolotowski, Jay Rosenblum, and Hilton Brown. A range of works of sculpture include Japanese direct carver Masayuki Nagare, found object sculptor Deborah Butterfield, acrylic modeler Vasa Velizar Mihich, sounding sculpture by Harry Bertoia, and bronzes in the American figurative tradition by Elizabeth Catlett, Albert Wein, Jose de Creeft, and Harriet Whitney Frishmuth.

On view in our main gallery are selections from inventory and new acquisitions highlighting the various currents of painting and sculpture that emerged in New York immediately following the end of WWII. Included are a marvelous figurative canvas by Jack Tworkov, painted in 1949 at a time when he shared a studio with Willem De Kooning. Untitled, 1950 by Michael Goldberg showcases the artist’s bold, near calligraphic strokes bearing witness to the influence of both Willem de Kooning and Franz Kline. Robert Richenberg’s MOMA Collage, included in the Museum of Modern Art’s 1961 exhibition The Art of Collage, is a magnificent composition and stands as a stellar example of collage and assemblage of the period. Also included are a marvelous Self-Portrait by Larry Rivers painted in 1961, a welded composition from 1958 by Sidney Gordin, an intimate fabric collage by Conrad Marca-Relli, among others.

Our exhibition features select sculptures reflecting our interest in 19th century American and European works from the 19th century forward. Included are works on paper intermingled with paintings we felt complimentary to sculptures on view.

Expressive forms; striking color. The vivid paintings of Carl Holty capture the sublime transcendence of the Color Field movement with a finesse that few other Abstract Expressionists were able to achieve. From his post-Cubist 1950s pieces to his floating '70s compositions, Holty pushed the boundaries of nonrepresentation.

The German-born American Abstractionist Carl Robert Holty (1900-1973) became known for his biomorphic abstract forms and geometric abstractions. Indelibly linked to both the Abstract Expressionist and Geometric Abstractionist art movements, Holty was a major proponent of Modernism in the United States and was a contributory influence to the world of American painting. He was a member of the Abstraction-Création Group in Paris, as well as a founding member of the American Abstract Artists. By the 1960s, Holty was creating paintings dominated by large color fields rendered with thinly washed fluid areas within subtly toned spaces, revealing the influences of Morris Louis and Helen Frankenthaler. A student of Hans Hofmann and his color theories of expanding dimensions and exuberant colors in abstractions, Holty created large, soft-edged color forms that were either mixed or floated on chromatic stains, experimenting with the relationship of space and form within a two-dimensional plane.

In celebration of Art Miami’s 29th edition, we present an exhibition of exceptional works by modern and contemporary art world giants, featuring Larry Poons, Joan Miró, and Harry Bertoia. More highlights include a powerful showcase of abstract works by Michael Corinne West, Stephen Pace, Nicolas Carone, and Carl Holty; brilliant kinetic sculpture by Lin Emery and Roger Phillips; and dramatic contemporary photography by Candida Höfer and Formento & Formento.

Taylor Graham is thrilled to announce our representation of the Estate of revered French painter François Aubrun. In conjunction with our partners at Vallarino Fine Art, we unveil a striking selection of his most accomplished works in a dedicated booth at Art Miami, beginning with his early impasto-laden canvases and culminating in his luminous and ethereal late compositions.

Join us as we exhibit at the eleventh annual edition of the American Art Fair, located within the historical Bohemian National Hall.

This year we shine a spotlight on early American Abstraction, featuring vibrant landmark cubist-inspired works by Hans Hofmann, Michael Corinne West, George L.K. Morris, and Esphyr Slobodkina.

These modernist pieces will be shown alongside the Art Deco sculpture of Albert Wein, as well as elegant abstract female portraits by Elizabeth Catlett and Joseph Goethe.

The third edition of TEFAF New York Fall will focus again on fine and decorative arts from antiquity to 1920. The Fair will run from October 27 - 31, 2018. The VIP opening will take place on Thursday, October 26, 2018. The historic Park Avenue Armory provides the prime Manhattan location and setting for the world's leading art dealers to meet with curators and collectors. Taylor | Graham will be showcasing meditative works by Dutch and Danish-American artists Geer Van Velde and Søren Emil Carlsen.

Taylor | Graham once again joins a group of seventeen extraordinary Upper East Side dealers to participate in October Art Week. A walkabout reception will be held at the gallery building from 5-9 PM on October 25th. Visitors will also have the chance to explore neighbor galleries Didier Aaron and Hammer Galleries.

Posture & Posing

For any sculptor or painter, choosing a subject is often the first step in the process of creating a work of art. However, as an artist goes to execute a composition, his or her overriding concentration is on the pose. The artist concentrates on posture, movement, and the rhythm of how the piece lays out. These same attributes determine how we as viewers react to the finished work of art. It is in this context that we realize how critical the tilt of a head, height of an arm, or position of a leg can be—one slight quarter-inch shift in placement can make all the difference.

Hard and soft edges meet as geometry faces organicism. The large-scale canvases of 20th-century Geometric Abstractionists John Stephan, Ilya Bolotowsky, Richard Anuszkiewicz, Larry Zox, Alexander Liberman, and Georges Noel are decidedly severe in their vivid tones and uncompromising form. They meet both complement and contrast in the sculpture of Bill Barrett, with its curvilinear, swooping gestures and fluid asymmetry. To juxtapose these styles is to investigate the very nature of space and line; the unity of this grouping stems from a shared interest in contour and structure. Honing in on a certain contemporary sensibility that radiates strength and solidity, this exhibition situates the work of one of the most accomplished sculptors of the present time alongside the vibrant canvases of Post-War giants.

Following our 2017 Formento & Formento show Cherchez la Femme!, Taylor | Graham presents a completely new exhibition of Formento photographs never before seen at our New York gallery. Drawing from series including Circumstance, Japan Diaries, Second Kind of Woman, Hysteria, Surreal Paris, and India: A New Way of Seeing, this group of images presents visions of femininity both fierce and fragile; strong and subdued. Highlights of the exhibition include works from the duo's recent series Hysteria, shot between America and Budapest, which carry on the Formentos' provocative tradition of social commentary.

Expressive forms; striking color. The vivid paintings of Carl Holty capture the sublime transcendence of the Color Field movement with a finesse that few other Abstract Expressionists were able to achieve. From his post-Cubist 1950s pieces to his floating '70s compositions, Holty pushed the boundaries of nonrepresentation.

"Holty never considered the solution of just painting his canvas one pure color."

—Romare Bearden

The German-born American Abstractionist Carl Robert Holty (1900-1973) became known for his biomorphic abstract forms and geometric abstractions. Indelibly linked to both the Abstract Expressionist and Geometric Abstractionist art movements, Holty was a major proponent of Modernism in the United States and was a contributory influence to the world of American painting. He was a member of the Abstraction-Création Group in Paris, as well as a founding member of the American Abstract Artists. By the 1960s, Holty was creating paintings dominated by large color fields rendered with thinly washed fluid areas within subtly toned spaces, revealing the influences of Morris Louis and Helen Frankenthaler. A student of Hans Hofmann and his color theories of expanding dimensions and exuberant colors in abstractions, Holty created large, soft-edged color forms that were either mixed or floated on chromatic stains, experimenting with the relationship of space and form within a two-dimensional plane.

CARL HOLTY: ANOTHER PLANE will remain on view at Taylor | Graham through April 27. Following the exhibition, the paintings will travel to Art New York, to be shown alongside modern sculpture by George Rickey, Tony Rosenthal, Joesph Goethe, and Antoine Poncet. The fair will run May 3-6. Please contact the gallery for complimentary passes.

In the 1950’s Springford received critical acclaim for her Abstract Expressionist black paintings that revealed an acute understanding of Chinese calligraphy which she melded into her action paintings. Around 1961 she transitioned to a method of staining her canvases. She took a step further with the exploration of abstracting forms in nature that predecessors such as Georgia O’Keeffe had begun in the 1920’s.

Sublime, joyous, mysterious—these stain paintings elicit immeasurable emotions and take us on journeys into infinite realms of possibilities like nature itself. Taylor | Graham proudly introduces an exhibition of the remarkable stain canvases of Vivian Springford.