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Thursday, April 30, 2015

PHILADELPHIA | Freeman's Tour and Auction Preview

Date(s): April 30, 2015

Time: 4:30 PM  EST - 6:30 PM  EST

Freeman's, 1808 Chestnut Street, Philadelphia, PA 19103

Henry Moore, (British, 1898-1986)
Seated Mother and Child, Bronze with brown patina
5 ¾ x 3 15/16 x 6 1/8 in. Image courtesy of Freeman's

Members and Guests 
Join us for an ArtTable exclusive tour and preview of Freeman’s Modern and Contemporary Art Auction. Anne Henry, Vice President and Department Head of Modern and Contemporary Art, will lead the group in a gallery talk. Following this special event, all attendees are welcome to gather at The Continental Mid-town’s upstairs bar. Drinks will be dutch-treat – members and their guests will pay The Continental Mid-town directly for their refreshments.
 Thank you to Rachel Zimmerman and Laurie McGahey for organizing this program. 



ArtTable is a 501.c.3 organization. All programs are non-refundable and tax deductible in the amount allowable by law. 
Having trouble registering?  Email programs@arttable.org for assistance



Annual Benefit Weekend | Annual Members' Reception

Date(s): April 30, 2015

Time: 5:00 PM  EST - 7:00 PM  EST

535 W 22nd Street, 3rd Floor, New York, NY, 10011

Dan Basen
"Untitled (Matchsticks)" 1964. Pencil, paint and matches on paper
12 x 10 1/2 in., 30.5 x 26.7 cm
Free | Members Only
Registration required
Join ArtTable members from around the country for our Annual Members' Reception the evening prior to the 35th Anniversary Benefit and Award Ceremony. Begin the full weekend of events by catching up with friends and colleagues while enjoying refreshments and hors d'oeuvres. The reception will be hosted at Allan Stone Projects, courtesy of gallery President and ArtTable Board member, Dorothy Goldeen and at P.P.O.W, courtesy of Co-owner and ArtTable member, Penny Pilkington. Members are welcome to walk between the two adjacent galleries and enjoy the exhibitions on view. On view at Allan Stone Projects will be Arman and Cesar and Dan Basen: Collage and Assemblage 1960 - 1965. On view at P.P.O.W Gallery will be Timothy Horn: Supernatural

Arman and Cesar
Selected from the Allan Stone Collection, the exhibition highlights significant works by two of the most prominent artists of the French artist group, Nouveau Réalisme. Arman was a founding member and César was a major participant. Together they exemplify the collective’s mission to connect art with life in an age of mass production. The approximately twenty objects in the exhibition, dating from 1954 to 1998, demonstrate the two artist’s similar development of inventive sculptural techniques and the use of nontraditional materials, everyday objects, refuse, factory materials, and synthetics in Post-War art. Arman’s work is informed by the ready-made mindset of Dada and the everyman culture of Pop Art. Creating assemblages of paintbrushes, watches, telephones, keys, and musical instruments suspended in resin or staged in Plexiglas boxes, Arman explored the artistic implications of ordinary objects in a new age of precision and mechanical reproduction. By making these objects unusable, Arman generated a sense of instability and disorder that reflected the tumultuous social and political era of the 1960’s worldwide. Despite his classical education, César was interested in the world of factory labor and the use of reclaimed materials. César pioneered sculptural applications for scrap-metal, car bodies, plastics, and later, molten crystal. His early art of the late 1950’s symbolizes the brutality on earthly life post-World War II through his disfigured metal sculptures that have been welded or compressed. By 1966, César gave up welded sculpture and explored polyurethane and molten crystal to create figural molds. The artist helped forge new territory for sculptural creations through unconventional materials and their unforeseen uses. Arman was born Armand Fernandez, in France, in 1928. He studied at École Nationale des Arts Décoratifs in Nice, and at École du Louvre in Paris. During his career he had more than 600 solo-exhibitions, including retrospectives at the Houston Museum of Fine Arts in 1991 and at the Jeu de Paume in 1998. His work is included in numerous collections including the Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden, Tate Modern, and Centre Pompidou. The artist died in New York in 2005. César was born César Baldaccini, in Marseilles, France, in 1921. He studied at the Ecole des Beaux-Arts, Marseilles and at the Ecole des Beaux-Arts in Paris. Over his career César had many gallery exhibitions and major museum retrospectives, including the Venice Biennale in 1995, and Paris’ Jeu de Paume in 1997. César is represented in the collections of the Museum of Modern Art in New York, the Tate Modern in London, Centre Pompidou in Paris, the National Museum of Modern and Contemporary Art of Korea, and numerous other public and private collections. César died in Paris in 1998.

Dan Basen: Collage and Assemblage 1960 - 1965
The works on view feature the artist’s association with the ready-made tradition by reordering common manufactured items into collaged or sculptural works. Using everyday objects such as matches, candy wrappers, soda bottles, and art supplies, Basen formalized common materials into rectangular grids or assembled them in metal boxes. At the core of Basen’s work is the act of stripping objects from their original intended use and highlighting their pure “objectness.” Basen’s focus is similar to that of Arman who also created vitrines of objects, achieving domination and order over the inanimate object to reflect on its materialness. As if trying to secure meaning or authority over a world becoming ever more complex and uncontrollable, Basen compelled the viewer to scrutinize everyday objects in their environment. Defeated by the battle he tried to win in his art, Basen tragically committed suicide in 1970. Dan Basen was born in 1939 in Poughkeepsie, New York. The artist received his BS in Art Education from State University of New York at New Paltz in 1961, and an MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art in 1963. He briefly continued his studies at the Brooklyn Museum of Art School in 1963-64. During his brief career, Basen received numerous accolades, including an annual fellowship at the Rinehart School of Sculpture (1961-63), a Hamburger Award for Sculpture from the Baltimore Museum of Art (1962), a Peabody Fellowship of the Peabody Institute of the City of Baltimore (1962), and a Museum Purchase Prize from the Baltimore Museum of Art (1963). Basen’s work has been featured in numerous museum exhibitions, including shows at the Baltimore Museum of Art and the Whitney Museum Downtown, both of which own the artist’s work, as well as the Institute of Contemporary Art in Boston, the Museum of the Rhode Island School of Design and the San Francisco Museum of Modern Art. Basen had solo exhibitions at Allan Stone Gallery, and was featured in group exhibitions at Betty Parsons Gallery, Byron Gallery, and Matthew Marks Gallery.  
Timothy Horn: Supernatural
Concerned with the intersection of the natural and the man-made, Timothy Horn has developed a practice that centers on borrowing forms found in nature to reinterpret decorative objects. This exhibit continues Horn’s investigation of the relationship between the organic and artificial, turning an eye to both the beauty found in nature and the way in which we have inextricably altered our environment. The exhibition’s title refers to the original definition of supernatural: that which is not subject to the laws of physics, or exists above and beyond nature, which Horn sees as an apt description for how we navigate contemporary life – living beyond our means, at the expense of the natural world. Horn conceives of his exhibition as a 17th century wunderkabinett, a room filled with curiosities appropriated from the natural world, including authentic specimens, scientific phenomena, and sometimes fictitious mythological creatures. Supernatural offers a contemporary context for highlighting some of the challenges facing our environment – a wunderkabinett for an environment under duress. Timothy Horn was born in Melbourne, Australia. He studied Sculpture at the Victorian College of the Arts and Glass at the Australian National University. In 2002 he received a Samstag Scholarship and moved to the U.S., where he completed his graduate work at Massachusetts College of Art. Horn's work has been the subject of solo exhibitions at the de Young Museum, San Francisco, SJ ICA, San Jose, and Lux Art Institute, Encinitas. His work has also been featured in major group exhibitions including at the Andy Warhol Museum, Pittsburgh, the Museum of Arts and Design, New York, GoMA, Brisbane, and the National Gallery of Australia, Canberra.



ArtTable is a 501.c.3 organization. All programs are non-refundable and tax deductible in the amount allowable by law. 
Having trouble registering?  Email programs@arttable.org for assistance



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