Dickinson Roundell Inc.

Dickinson New York’s summer show features a selection of works, created from 1950 to present, by artists from the Americas. Among the most fascinating is the pairing of a glorious emblem painting by Rubem Valentim, deeply informed by his Afro-Brazilian heritage and Yoruba Candomblé and Umbanda traditions, and a visually complementary geometric abstraction by Judith Lauand, which reaches a similar aesthetic point via a very different European Concretist route. Joining this conversation are works by Lygia Clark, Victor Magariños, Lygia Pape, Luiz Sacilotto, Mira Schendel, Alfredo Volpi and others. Also on view are wonderful examples by Dan Colen, Joseph Cornell, Victoria Gitman, Martin Kippenberger and Ed Ruscha.

Dickinson will present Visible and Tangible Form, a gallery exhibition arranged in tandem with our booth at TEFAF New York. The presentation looks at the far-reaching impact of the Bauhaus school of art and design in Europe and the Americas; its migration from Europe to the Americas in the form of offshoot institutions, such as the Chicago Bauhaus, and the rise of related movements, notably Neo-Concrete art in Latin America. Also on view will be Surrealist highlights from forthcoming exhibitions in Europe.

Fanny Sanín: Progression, 1966 to Now will feature five large format works painted over the past 56 years, together with a fascinating group of thirteen works on paper which document beautifully the processes through which each composition is developed. Fanny Sanín is one of the leading artists of the Abstract movement in the Americas. This presentation illustrates how the artist has drawn on influences from her native Colombia, time spent in Mexico and London, and her long residence in New York, as well as the painstaking process by which composition and palette are refined on paper, to evolve a rigorous body of work spanning more than six decades.

Dickinson New York is pleased to present Picabia and the Surrealists. This show will be on view through 22 December at 980 Madison Avenue. In addition to several highlights by Francis Picabia, the show will feature works by Jean (Hans) Arp, Enrique Donati, Max Ernst, Paul Klee, Andre Masson, Man Ray, Yves Tanguy and others. Works by Josef Albers, Joseph Cornell, Jean Dubuffet, and Ivan Serpa will also be on view.

The exhibition will be led by Sheila Hicks’s Prayer Rug (1972) and focus on artists’ explorations of texture across multiple media. Recent work by Olga de Amaral, Ursula von Rydingsvard and Elsa Hansen Oldham will also feature. This cohesive collection of works by artists active from the late 1950s through the present day celebrates the diverse use of texture and fabric.

Miró: The Wall of the Moon presents Joan Miro’s superb maquette for one of the ceramic murals commissioned for the UNESCO plaza in Paris, Mur de la Lune (The Wall of the Moon), alongside a complementary selection of Mid-Century paintings and sculpture. Painted in 1955, the maquette features the celestial shapes that define Miró’s most celebrated paintings, and retains its original, vibrant colouring thanks to its exceptional state of preservation. Miró presented the painting to the architect Marcel Breuer, at the completion of the UNESCO project, and it has remained in the Breuer family collection ever since. Miró was one of eleven artists awarded a commission to provide a decorative scheme for the new UNESCO headquarters. In September 1946, the UNESCO Preparatory Commission relocated from London to Paris, taking up residence in a building designed by Hungarian-American Breuer – the Bauhaus-trained architect responsible for, among other landmarks, the former Whitney Museum building (currently housing the Frick collection) on the Upper East Side – along with Pier Luigi Nervi of Italy and Bernard Zehrfuss of France. In partnership with his long-term collaborator, ceramicist Josep Llorens Artigas, Miró designed two monumental murals for the building’s plaza: Mur de la Lune (The Wall of the Moon) and Mur du Soleil (The Wall of the Sun). Alexander Calder, like Miró, was among the artists selected to contribute to the UNESCO project. It is therefore fitting that, alongside Mur de la Lune, Dickinson will show one of Calder’s table-top-sized stabiles, as he dubbed his standing mobiles, with forms cut from sheet metal and painted in the artist’s signature primary palette. The exhibition further references the Bauhaus School with Study for ‘Homage to the Square: Late Silence’ (1960) by Bauhaus graduate and professor Josef Albers. These works are joined by one of Brazilian Neo-Concrete artist Lygia Clark’s Bicho sculptures and Conrad Marca-Relli’s Untitled (c. late 1940s). Miró: The Wall of the Moon will be on view at Dickinson New York, 980 Madison Avenue, from 6 May through 30 June.

To mark the arrival of Spring, Dickinson New York presents In Bloom, featuring oil paintings and works on paper by leading names in American Impressionism including Metcalf, Hassam, Sargent and Chase.

Dickinson New York presents an important, privately-owned collection of works by Cuban-American abstract painter Carmen Herrera (b. 1915). The eight paintings date from between 1949 and 1953, a period when Herrera was living in Paris and responding to the European avant-garde.