Grey Art Gallery at NYU will remain closed until fall 2021, serving as a study center for University students in the interim.
amNewYork reviews Taking Shape.
The New York Times lists Taking Shape as one of 21 art exhibitions to see the weekend of February 27, 2020.
The New York Times lists Taking Shape as one of 23 art exhibitions to see the weekend of March 5, 2020.
Conceptual Fine Arts recently spoke with Al Qassemi in Boston to discuss his vast collection of Arab modern art, a part of which is accessible in a travelling exhibition, “Taking Shape: Abstraction from the Arab World, 1950s-1980s” that’s on view at the Grey Art Gallery, New York University, through April 4, 2020.
I visited “Taking Shape” after “Theater of Operations,” and it was hard not to see the very optimism that permeated so many of these abstract works through the eyes of disillusionment.
Writing in 1964, the Algerian painter Mohammed Khadda (1930–1991) identified “that day in 1910 when the Russian artist [Wassily] Kandinsky created the first nonrepresentational work” as marking the birth of “nonfigurative (or abstract) painting.” (Note: For the sake of consistency, I have used the exhibition curators’ transliteration of artists’ names.)
WORKS ON PAPER FROM THE NYU ART COLLECTION Too little known is the Grey Art Gallery’s permanent art collection. New York University students, faculty, and staff might be familiar with some parts of it—over 800 works from the collection are installed throughout the campus. The collection dates back to 1958, when Department of Art Education […]
Download Taking Shape exhibition checklist. Download Taking Shape label text.
On the heels of the exhibition “Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection,” which showcased works from the 1960s and ’70s, Grey Art Gallery’s first presentation of the year further widened the lens on 20th-century art from the Middle East, Asia, and North Africa. “Taking Shape: Abstraction from the Arab World, 1950s–1980s,” curated by Suheyla Takesh and Lynn Gumpert, represented a joint effort with the Sharjah-based Barjeel Art Foundation to consider modernist movements from the region and the diaspora.