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The Gallerist Jumaane N’Namdi

Although he has made Miami his home only since 2012, Jumaane N’Namdi is a committed stakeholder. “Everyone here who’s involved in the arts has a mission to promote the arts in South Florida,” says the director of N’Namdi Contemporary Miami, a gallery in Wynwood. Although the neighborhood is increasingly dominated by retail stores, he insists art cannot be just a commodity. Instead, he finds himself allied with the Pérez Art Museum Miami and other venues “to put the city on the map … for people to come to see art.”

Consider This

By Jeff Edward s An Interview with Gregory Coates Gregory Coates in Obama, Japan in front of his piece Black Rice, 2010. Courtesy of the artist and N’Namdi Contemporary, Miami.

 

 

New York Times: As a Painter Grows Older, His Creativity Endures

By RACHEL L. SWARNS FEB. 23, 2014

Ed Clark stood silently before the canvas on the floor of his studio. He buy essays online considered the muted morning light, the paint and its promise. Then he pushed a broom across the surface, capturing the hues of daybreak and twilight with each stroke.

He leaned on his personal assistant, who steadied Mr. Clark’s aging body. There was a time when it seemed that nothing could stop him from painting with his push broom, one of his signature innovations. But he is 87 now. After about three hours, he was physically spent.

“When you get older, what you’ve done when you were younger, you research paper can’t do anymore,” Mr. Clark said last week, as he sank slowly into his easy chair. “That’s just the body getting old. It’s telling me, ‘You won’t be here for long.’ ”

Then he grinned: “But I don’t intend to go.”

N’Namdi Gallery Opens a New Location in Miami

Michigan Avenue: Home Tour, An Artful Abode.

An Artistic Encounter

By Lisa Skolnik

James and Mary Bell know buy essays online what they like when they see it. When they met artist William Tolliver in Los Angeles 25 years ago, they were immediately drawn to his work— but didn’t buy an original piece until several years later

At the time, James was an executive with Rockwell International Corporation and Mary was a business analyst with TRW. Her best friend, Carmen N’Namdi, had opened a gallery in Detroit with her husband, George, who urged the Bells to buy works by African American masters. “[George] meant the research paper masters, like Romare Bearden, Artis Lane or Jacob Lawrence.

We loved the work, but we didn’t have that kind of budget,” says Mary. The Tolliver they did eventually buy inspired them to purchase more of what they term papers liked. “We didn’t start out as collectors,” explains James, who is now Boeing’s corporate president, executive vice president and CFO.

Art Pulse: The Long Sweep

The Long Sweep A Conversation with Ed Clark about His 60-Plus Years in the Art World By Jeff Edwards Abstract Expressionist painter Ed Clark has been an influential figure in the world of painting for more than six decades. In addition to his buy essays online signature push-broom sweep paintings, he was also an innovator in the field of shaped canvases and one of the original artists in the Brata Gallery during New York’s Tenth Street co-op gallery boom in the 1950s. His works are included in the permanent collections of more than a dozen museums and institutions, including The Art Institute of Chicago, the Studio Museum in Harlem, the Metropolitan Museum of Art and the Museum of Modern Art in New York, the California African American Museum in Los Angeles and the Centro de Arte Moderno in research paper Guadalajara, Mexico. In anticipation of his term papers upcoming retrospective at N’Namdi Contemporary Miami, we spoke with Clark about his life as an artist, the evolution of his style and techniques, and some of the experiences he’s had during his travels around the world.

EDWARD CLARK: Master of Abstract Expressionism

By Jenna Bond-Louden

This summer, the Solomon R. Guggenheim Museum is presenting works from their collection in the retrospective Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960. A saturating stroll through the Frank Lloyd Wright-designed building on Museum Mile in New York City, the presentation reflects works selected by former Guggenheim director James Johnson Sweeney as highlighted works and artists of the post-Word War II abstract expressionist movement.

The show illuminates the names of greats including Jackson Pollack, Willem de Kooning, Georges Mathieu, Mark Rothko, and Kenzo Okada. The breadth of artists and the complexity of works require a half-day to view in full, and perhaps two visits to fully consider.

But as much education as the exhibit offers in interpreting the significance of the international abstract expressionist movement, it also highlights how easily history keeping can betray thorough historical survey. This is specifically of note given the influence these artists had as part of a movement that really lifted New York’s presence in the art world. Particularly, I thought of African-American artist Edward Clark, whose contributions to this movement include the development of the push broom brush stroke and the reshaping of the abstract canvas.
I enjoyed a daylong studio visit with Clark this past spring where he led me through a retrospective of his works and a review of his technique. Born in New Orleans, the octogenarian master artist continues to produce pieces, having begun his career following the war, graduating the Art Institute of Chicago on the G.I. Bill. At the start of the 1950s, Clark moved to Paris where his figurative style began to transform into his particular method of color field that has attracted acclaim from museums, galleries, collectors and enthusiasts from around the world throughout his career. One his most notable collectors was business leader and philanthropist Reginald L. Lewis—who even commissioned Clark to do a piece for Lewis’ private plane.

Clark, still holding a great love for Paris, began our conversation describing what it was like to be there in the 1950s, referencing Woody Allen’s Midnight in Paris several times. “When I was there, Picasso was still alive. I remember going to cafes and sitting two tables over from him,” he recalled.

Perhaps motivated like other creative African-Americans to enjoy the freedom and adoration that France offered them, or focused as a young artist who also trained at Académie de la Grande Chaumière in Paris, Clark does not delve much into why the city means so much to him. He offers only that, “Paris is where it was at.” Then he recalls living near the setting made famous by Claude Monet’s “Water Lilies”. Perhaps this and his admiration of Paul Cézanne explains why his work has also been described as abstract impressionist.

When the conversation moves to his peers, he only responds, “I was never that impressed by what anyone else was doing, and never really satisfied with myself. I still am not.” A mix of humility and ambition from a highly influential artist who does have a work by Beauford Delaney, another master African-American artist who he knew and admired, displayed prominently in his home among a series of portraits he produced very early in his career. At this point, he begins to demonstrate the brush stroke he invented, using a series of tools to set up the push broom to construct a series of strokes, textures and movements upon a canvas that are iconic to his style. As he exacts the setup of his brush, he points out the influence the lighting of his studio has had on his approach.

As we talk about interpreting art while viewing the trailer to his 60-year retrospective that G.R. N’Namdi Gallery hosted in fall 2011, Clark recalls his own journey to appreciating African sculpture. While African art had strong influence on the cubist movement, Clark describes his personal journey of developing a familiarity with West African culture, which in turn transformed his way of seeing the art so that he absorbed its power. Perhaps in understanding Clark’s obsession with brush technique, the impact of light and gravity on a piece, and the pursuit of his best ability, audiences can better absorb the power of this master of the abstract expressionist movement.

Whether viewing his “Untitled” (1957) which shook up the standard in canvas shape and dimension among his peers, or his “Untitled: Paris Series”, 1988, I like to think of Clark’s work as microscopic magnifications into the interrelationships of brush stroke and color that transcends style. There is something distinguished in the manner in which his works draw in audiences to pause and study the elements of his compositions. Given the breadth of his career and color field studies, Clark’s work clearly demonstrates leadership in a movement which brought America to the forefront of the art world.