Artist Biography: Jack Tworkov


Columbia University
Art Students League, with Guy Pen du Bois and Boardman Robinson
National Academy of Design
Awards and Honors:
William A. Clark Prize accompanied by Corcoran Gold Medal, 28th Biennial
Exhibition of American Painting, 1963
MFA in privatum, Yale University, 1963
John Simon Guggenheim Fellowship Award (Fine Art-Painting), 1970
Honorary Doctor of Fine Arts, Maryland Institute of Art, Baltimore, 1971
Honorary Doctor of Humane Letters, Columbia University, 1972
Medal for Painting, Skowhegan School of Painting and Sculpture, 1974
Member, National Society of Literature and the Arts, 1974
Appointed Andrew Carnegie Visiting Professor of Art, Cooper Union, New York, 1975
Honorary Doctor of Fine Arts Degree, Rhode Island School of Design, Providence, 1979
Elected Member, American Academy and Institute of Arts and Letters, New York, 1981Selected Exhibitions:
Provincetown Art Association, Provincetown, MA, 1926, 1927, 1928
Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1929, 1948, 1949
Societe Anonymn, New York, NY, 1929
Dudensing Gallery, New York, NY, 1931, 1933, 1934, 1935
New School for Social Research, New York, NY, 1937
Montclair Museum, Montclair, NJ, 1937, 1978
ACA Gallery, New York, NY, 1940 (Solo)
Whitney Museum of American Art, New York, NY, 1941, 1951-53,1955, 1956, 1960, 1962, 1973
Carnegie Institute, Pittsburgh, PA, 1941, 1953, 1958, 1961
Charles Egan Gallery, New York, NY, 1947, 1949, 1952, 1954 (Solo)
Baltimore Museum, Baltimore, MD, 1948 (Solo)
The Virginia Museum of Fine Arts, Richmond, VA, 1948
Corcoran Gallery of Art, Washington, DC, 1949, 1952, 1955, 1959, 1961,1975
Museum of Modern Art, New York, NY, 1952, 1969
Stable Gallery, New York, NY, 1953, 1954, 1955, 1957,1958
Poindexter Gallery, New York, NY, 1956, 1957
Stable Gallery, New York, NY, 1957, 1958, 1959 (Solo)
Walker Art Center, Minneapolis, MN, 1957 (Solo)
Dallas Museum of Contemporary Arts, Dallas, TX, 1958
Tate Gallery, London, England, 1958
Musee National D’Art Moderne, Paris, France, 1959
Museum of Fine Arts, Houston, TX, 1959
Leo Castelli Gallery, New York, NY, 1959, 1960
San Francisco Museum of Art, San Francisco, CA, 1960
Museum of Modern Art, New York, NY, 1961, 1975
Metropolitan Art Gallery, Tokyo, Japan, 1961
Solomon R. Guggenheim Museum, New York, NY, 1961
Leo Castelli Gallery, New York, NY, 1961, 1963 (Solo)
Wadsworth Atheneum, Hartford, CT, 1962
American Federation of Arts, New York, NY, 1962
Martha Jackson Gallery, New York, NY, 1962
Yale University Art Gallery, New Haven, CT, 1963 (Solo)
Allentown Art Museum, Allentown, PA, 1963
Columbia Museum of Art, Columbia, SC, 1963
Musee Cantonal des Beaux Arts, Lausanne, Switzerland, 1963
Washington Gallery of Modern Art, Washington, D.C., 1963, 1966
Whitney Museum of American Art, New York, NY, 1964, 1971 (Solo)
Provincetown Art Association, Provincetown, MA, 1964, 1971, 1972
New School Art Center, New York, NY, 1965
University Art Museum, University of California, Berkeley, 1967
Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA,1967
Skowhegan Exhibition, 1968
The Hudson River Museum, Yonkers, NY, 1971
The Aldrich Museum of Contemporary Art, CT, 1971
Toledo Museum of Art, Toledo, OH, 1972 (Solo)
Harcus, Krakow, Rose, Sonnabend Gallery, Boston, MA, 1974 (Solo)
New York Cultural Center, New York, 1974
Pace Gallery, New York, 1974
Indianapolis Museum of Art, Indianapolis, IN, 1974
Virginia Museum, Richmond, VA, 1974
American University, Washington, DC., 1974 (Solo)
Nancy Hoffman Gallery, New York, NY, 1974, 1982, 1983, 1985 (Solo)
The Portland Center for the Visual Arts, Portland, OR, 1974 (Solo)
List Gallery, Denver Art Museum, Denver, CO,1974 (Solo
New Gallery of Contemporary Art, Cleveland, OH, 1975 (Solo)
US Department of State, Washington, D.C., 1976
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, 1976
Institute of Contemporary Art, Boston, MA, 1976
Solomon R. Guggenheim Museum, New York, 1976, 1979, 1987
Brooklyn Museum, Brooklyn, NY, 1976, 1980
Museum of Art, Rhode Island School of Design, Providence, RI, 1976
Society for Contemporary Art, Art Institute of Chicago, IL, 1977
Toledo Museum of Art, Toledo, 1977
New York State Museum, Albany, New York, 1977
Worcester Art Museum, Worcester, MA, 1977
Minnesota Museum of Art, St. Paul, MN, 1977 (Solo)
Yale University, New Haven, CT, 1978
Museum of Contemporary Art, Chicago, IL, 1978
Federal Reserve Bank, Boston, MA
Third Eye Centre, Glasgow, Scotland, 1979 (Solo)
Betty Parsons Gallery and Marilyn Pearl Gallery, New York, NY, 1979
Metropolitan Museum of Art, New York, NY, 1979
Academy Gallery, Liverpool, England, 1979 (Solo)
Ulster Museum, Belfast, Ireland, 1979 (Solo)
American Academy and Institute of Arts and Letters, New York, NY, 1979,1981, 1983
Rhode Island School of Design, Providence, RI, 1980 (Solo)
Federal Reserve Board, Fine Arts Program, Washington, DC, 1980
Cherry Stone Gallery, Wellfleet, MA, 1980
The Cleveland Museum of Art, Cleveland, OH, 1980
Newark Museum, Newark, NJ, 1981
Whitney Museum of American Art, New York, NY, 1981
The Aldrich Museum, Ridgefield, CT, 1981
Solomon R. Guggenheim Museum, New York, NY, 1982 (Solo)
Nancy Hoffman Gallery, New York, NY, 1981, 1982, 1983, 1984, 1985
Delaware Art Museum, Wilmington, DE, 1983
Richmond Gallery, Provincetown Art Association, Provincetown, MA, 1983 (Solo)
Cherry Stone Gallery, Wellfleet, MA, 1986
Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1987 (Solo)
Provincetown Art Association, Provincetown, MA, 1987, 1993
Fine Arts Work Center, Provincetown, MA, 1987
André Emmerich Gallery, New York, NY, 1990,1991, 1995 (Solo)
Boston College Museum of Art, Chestnut Hill, MA, 1994 (Solo)
Manny Silverman Gallery, Los Angeles, CA, 1994 (Solo)
Mitchell-Innes & Nash, New York, NY, 1998
Andre Emmerich Gallery, New York, NY, 1998
Plattsburgh State Art Museum, Plattsburgh, NY, 1998
Centre Cultural de la Fundacio “la caixa”, Barcelona, Spain, 1999
The National Arts Club, New York, NY, 2000
American Contemporary Art Gallery, Munich, Germany, 2000, 2001, 2002, 2004
Mitchell Innes & Nash, New York, NY, 2000, 2002, 2007 (Solo)
American Contemporary Art Gallery, Munich, Germany, 2000 (Solo)
Ameringer/Howard/Yohe Fine Art, New York, NY, 2001 (Solo)
American University, Washington, DC, 2002
ACME Fine Art and Design, Boston, MA, 2003
Rockford Art Museum, Rockford, IL, 2004
Opalka Gallery, The Sage Colleges, Albany, NY, 2005
Musee d’Art Moderne, Nice, France, 2005
Valerie Carberry Gallery, Chicago, IL, 2006 (Solo)
Kunstforum, Vienna, 2006
Cheim & Read, New York, NY, 2006
Cherry Stone Gallery, Wellfleet, MA, 2006
Bridgette Mayer Gallery, Philadelphia, PA, 2006
Greenberg Van Doren Gallery, New York, NY, 2006
Hackett Freedman Gallery, San Francisco, CA, 2007
ACME Fine Arts, Boston, MA, 2007
Hollis Taggart Galleries, New York, NY, 2007
Adelson Galleries, New York, NY, 2007
Valerie Carberry Gallery, Chicago, IL, 2007
Oklahoma City Museum of Art, Oklahoma City, OH, 2007
Georgia Museum of Art, Athens, GA, 2007
Pavel Zoubok Gallery, New York, NY, 2007
Metropolitan Museum of Art, New York, NY, 2007
ACME Fine Art, Boston, MA, 2008 (Solo)
UBS Art Gallery, New York, NY, 2009 (Solo)Selected Collections:
Ackland Art Museum, University of North Carolina, NC
Addison Gallery of American Art, Andover, MA
Albright-Knox Art Gallery, Buffalo, NY
Allentown Art Museum, Allentown, PA
American Academy of Arts and Letters, New York, NY
The Art Institute of Chicago, Chicago, IL
The Baltimore Museum of Art, Maryland, MD
Brooklyn Museum of Art, Brooklyn, NY
The Chase Manhattan Bank, New York, NY
Chrysler Museum, Norfolk, VA
The Cleveland Museum of Art, Cleveland, OH
Hartford Atheneum, Hartford, CT
The Hirshhorn Museum and Sculpture Garden, Washington, DC
Indianapolis Museum of Art, Indianapolis, IN
The Jewish Museum, New York, NY
The Museum of Modern Art, New York, NY
The Museum of Fine Arts, Houston, TX
The National Gallery of Art, Smithsonian Institution, Washington, DC
The Newark Museum of Art, Newark, NJ
Phillips Collection, Washington, DC
Portland Art Museum, Portland, ME
Provincetown Art Association and Museum, Provincetown, MA
The Rockefeller Institute, New York, NY
Rhode Island School of Design Museum, Providence, RI
San Francisco Museum of Art, San Francisco, CA
Solomon R. Guggenheim Museum, New York, NY
State University of New York at New Paltz, NY
Tate Modern, London, UK
University of Michigan Museum of Art, Ann Arbor, MI
University of Wisconsin, Madison, WI
The Wadsworth Atheneum, Hartford, CT
Walker Art Center, Minneapolis, MN
Washington Gallery of Modern Art, Washington, DC
Watkins Collection, The American University, Washington, DC
Whitney Museum of American Art, New York, NY
Yale University, New Haven, CT
Yellowstone Art Museum, Billings, MT


17 October – 15 November 2008

ACME Fine Art’s second solo exhibition of the work of Michael Loew is comprised of a group of fine watercolors and drawings created while the artist was in residence on his beloved Monhegan Island in Maine. Loew began spending the summer months on Monhegan in 1949 and continued doing so for almost thirty years. During the early years he enjoyed sketching the island landscape in watercolors that were painted en plein air. ACME Fine Art’s exhibition will feature a fine group of such watercolors that were painted between 1949 and 1954 as well as a group of drawings from the same period.

While the influences of teachers such as Vaclav Vytlacil and Hans Hofmann can be appreciated in this early work, Michael Loew’s adaptation of modern ideas on formal structure and color yielded something completely fresh and original. The early watercolors bear witness to the artist’s fundamental interest in and adaptation of a reductive theory that always had its basis in nature. Throughout his career Loew’s point of departure was often the landscape and light of coastal Maine.

In her essay Nature Into Abstraction that was published in conjunction with Loew’s 1997 retrospective exhibition at the Farnsworth Art Museum in Rockland Maine, curator Susan Larsen aptly describes Loew’s early geometric work as a “fusion of landscape and radical abstraction.” These watercolors visually demonstrate the fusion described by Dr. Larsen, and they capture the precise conception of an evolutionary process for the artist that ultimately led to the creation of his highly synthesized, seminal neo-plastic “Open Space” paintings of the 1970s and early 1980s.

The exhibition Michael Loew, En Plein Air will be on view at ACME Fine Art from 17 October through 15 November 2008.


17 October – 15 November 2008

An exhibition of rare and important oil paintings by George McNeil will open at ACME Fine Art’s 38 Newbury Street galleries on Friday 17 October 2008. The exhibition will be comprised of a group of 19 works from the estate of the artist that date from between 1951 and 1969. This was a period that encompassed the artist’s full-blown action paintings as well as the powerful transitional works that demonstrate McNeil’s growing interest in abstract figuration. The exhibition will be on view through the 15th of November. Exhibition catalogues are available through the gallery.

George McNeil was a true pioneer of American modern art. Today he is recognized as one of the few true first-generation Abstract Expressionist painters. It should also be noted, however, that McNeil’s legacy in modern art began long before his participation in the advent of the New York School. Among his other early noteworthy accomplishments McNeil was one of the founders of the American Abstract Artists group in 1936, and in 1939, McNeil was one of only five non-objective artists whose work was selected for the New York World’s Fair exhibition.

McNeil got his start as an artist as early as 1922 when while still a teenager- he attended art classes at the Brooklyn Museum. Thanks to seminal exhibitions that he viewed at the Brooklyn Museum of their Société Anonyme collection and others at the Metropolitan Museum during the 1920s, McNeil became an ardent admirer of the work of Picasso, Matisse, Duchamp, and Picabia. Between 1927 and 1932 McNeil’s studies at the Art Students League introduced him to Vaclav Vytlacil, Jan Matulka, and most importantly, Hans Hofmann. McNeil became closely associated with Hofmann during this period. In 1936 and 1937 McNeil acted as Hofmann’s class monitor, official assistant, and unofficial interpreter of Hofmann’s theories. (An often-repeated story about McNeil’s role as interpreter is that when Lee Krasner was asked what she thought of Hofmann’s theories, she responded that she could not say, because all she really understood was McNeil’s version.) The collegial atmosphere of the Hofmann School helped sponsor his lifelong friendships with artists such Giorgio Cavallon, Mercedes Matter, John Opper, William Freed, Lillian Orlowsky, and Rae Eames. Similarly, McNeil’s participation in the Federal Arts Project in the 1930s led to associations with Burgoyne Diller, Willem De Kooning, and James Brooks.

After earning his Ed.D. at Columbia University in 1943, McNeil served in the U.S. Navy during World War II. His distinguished teaching career began with a two-year post at the University of Wyoming following the war, after which he accepted the Directorship of the Pratt Institute Evening Art Program. As Director McNeil, was responsible for bringing Franz Kline, Philip Guston, Reuben Nakian, and other noteworthy artists in to teach classes. McNeil served on the faculty at Pratt from 1948 until 1981. During his tenure at Pratt McNeill also taught at the University of California at Berkeley in 1956 and 1957, and at the New York Studio School of Painting, Drawing, and Sculpture from 1966 to 1981.

In the late 1940s McNeil joined the Charles Egan Gallery in Manhattan. Egan was one of the first galleries in New York to feature the work of Abstract Expressionist artists. During this time Egan was also showing the work of Willem De Kooning, Franz Kline, Giorgio Cavallon, Philip Guston, and Robert de Niro Sr. In 1950 McNeil had his first of four solo exhibitions at the Charles Egan Gallery. Since that time McNeil’s work has been widely exhibited in galleries, in private collections, and in museum venues alike. A detailed list of solo and group exhibitions and museum collections containing the work of George McNeil follows the current exhibition catalogue images. Some of the highlights include: participation in group exhibitions at the Art Institute of Chicago (1947), Museum of Modern Art (1951,1959,1969, 1985), the Whitney Museum of American Art (1957,1961,1965, 1988) Solomon R. Guggenheim Museum (1961), and the Pennsylvania Academy of Fine Arts (1962,1966). McNeil’s work is in the permanent collections the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, the Whitney Museum of American Art, the Brooklyn Museum of Art, and the Corcoran Gallery of Art.

For ACME Fine Art’s third solo exhibition of the paintings of George McNeil the gallery has chosen to focus on the artist’s fully abstract paintings from the 1950s and 1960s. This was the period when McNeil’s work first began to receive the serious critical attention that it deserved. McNeil had excellent gallery representation during this period, and his work was exhibited regularly, first at Egan (until 1954), then at the Poindexter Gallery (through 1959), and later at the Howard Wise Gallery (1960-1967.) As previously noted McNeil’s work was frequently included in significant museum venues around the country in the 1950s and the 1960s. It should also be noted that his work was regularly reviewed by such publications as Time Magazine, the New York Times, and Art News, and by writers such as Thomas Hess, Barbara Rose, Clement Greenberg, William Seitz, and Irving Sandler.

The work from 1950s is characterized by McNeil’s signature use of multiple layers of thick impasto with complexly interlaced textural bands or areas of pigment. These canvasses are the boldly colorful, spontaneously conceived, emphatic, artistic statements by an artist who has found his natural expressionist’s voice. In short they constitute classic, New York School, Abstract Expressionism.

The decade of the 1960s was an important period of transition for McNeil. In the 1960s his forms while often equally textural rich and complex- in many cases carried figural or landscape associations. Frequently the titles of these paintings such as Nassau or Rhoda- echo such associations. (Some were in fact painted en-plein-air.) During this period McNeil began to experiment with abstracted vaguely figural shapes, and an enhanced sense of spatial depth. In a number of the canvasses that were painted near the beginning of the decade, he also often employed a lighter even feathery- almost frenetic gesture. By the end of this pivotal decade, the figure had become more fully sensate in McNeil’s work; nonetheless, the expression remained an abstract vehicle used by the artist as an additional tool in his visual language. These paintings display the artist’s struggle to convey more than he could otherwise do using what had become his traditional means. These are compelling transitional works that like the artist- are rich in complexity and are often enigmatic. These too are the works that led the emotionally charged Neo-Expressionist canvasses that became McNeil’s hallmark in the 1970s, ’80s & ’90s.