LEFT TO RIGHT Jackson Pollock, Enchanted Forest, 1947, Peggy Guggenheim Collection, Venice; Lee Krasner, Untitled, 1948, The Metropolitan Museum of Art, New York; Lee Krasner, Bald Eagle, 1955, ASOM Collection. Photo by David von Becker.
Curated by Daniel Zamani, The Shape of Freedom: International Abstraction after 1945 examines the creative interplay between Abstract Expressionism in United States and Art Informel in Western Europe from the mid-1940s to the end of the Cold War.
Where the collection supports a transnational vision of art history, it is proud to contribute with seven works by Joan Mitchell, Lee Krasner, Janet Sobel, Hedda Sterne, Morris Louis, Hans Hartung and Jean Paul Riopelle to this exhibition that highlights the transatlantic exchange and dialogue of two important currents in post-war abstraction.
LEFT TO RIGHT Morris Louis, Quo Numine Laeso, 1959, The Albertina Museum, Vienna; Morris Louis, Saf Heh, 1959, ASOM Collection. Photo by David von Becker.
LEFT TO RIGHT Hedda Sterne, N.Y. #7, ca. 1955, ASOM Collection; Adolph Gottlieb, Evil Omen, 1945, Collection Neuberger Museum of Art, Purchase College, State University of New York; and Cave, 1952, Fondation Gandur pour l’Art, Genève; Jackson Pollock, The Teacup, 1946, Museum Frieder Burda, Baden-Baden. Photo by David von Becker.
LEFT TO RIGHT Janet Sobel, Illusion of Solidity, c.1945, ASOM Collection; Jackson Pollock, Composition No. 16, 1948, Museum Frieder Burda, Baden-Baden; Perle Fine, Early Morning Garden, 1957, Private Collection, Minneapolis. Photo by David von Becker.
LEFT TO RIGHT Jean-Paul Riopelle, Untitled, 1954, ASOM Collection; Simon Hantaï, The Cloak of the Virgin, 1962, Fondation Gandur pour l'Art, Geneva; Hans Hartung, T 1955-9, 1955, ASOM Collection. Photo by David von Becker.
