"Booth 306"

Mark di Suvero, Ellsworth Kelly, Julije Knifer, Robert Mangold, Agnes Martin, Piet Mondrian, Blinky Palermo, Richard Serra, Richard Tuttle, Franz Erhard Walther

PETER FREEMAN INC

140 Grand Street (Ground Floor, between Crosby and Lafayette) New York, New York 10013

T: +1 212 966 5154 F: +1 212 966 5349 e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

TEFAF NEW YORK SPRING 2022

Park Avenue Armory 643 Park Avenue 10065 New York, New York USA
T. +1 212 370 2501 e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

May 6 > 10, 2022

Booth 306
On the occasion of the 2022 edition of TEFAF New York, Peter Freeman, Inc. will present important minimal works, mostly from the 50s, 60s and 70s.
Highlights include one of the earliest Robert Mangold paintings, a 1965 study that will be on view publicly for the first time; a Piet Mondrian study drawing for New York/ Boogie Woogie (1941/1942), sketched on a cigarette package ca. 1938-40 and last exhibited in the internationally-touring retrospective that closed at MoMA in 1996; a Blinky Palermo suite of six collages, as well as a rarely shown painting from 1973; and an early oil stick drawing by Richard Serra – one of his first "circle" drawings, not shown since 1976, the year it was made.
Ellsworth Kelly's 1956 painting, Wall Study (EK 85), was included in the artist's first exhibition at the Betty Parsons Gallery in May of that year, where it was bought by the artist Ethel Schwabacher. Kelly repeated the image of this seminal work some years later in three well-known larger paintings, now in the collections of Tate, SFMoMA, and the Kelly Foundation.
Franz Erhard Walther's two-part Wall Formation from 1981, made of sewn dyed-canvas, the artist's signature material, balances its minimal structure with spaces waiting for the viewer to physically enter. Other sculptures include a very early 1962 steel floor work by Mark di Suvero, first exhibited at his 1975-76 solo show at the Whitney, and a club-shaped galvanized tin piece by Richard Tuttle from 1967, one of few unique sculptures related to his well-known "alphabet"–Letters (The Twenty-Six Series).
The wide range of works on view brings together an intergenerational group of artists whose work explores a reduction of form and a focus on material, distilling gesture and content to its essential elements across a variety of media.