Spanierman Modern is pleased to announce the opening on August 12, 2010 of our second August Gallery Selections exhibition of the summer. Presenting works by twenty-one artists, the show reveals the many strands of connection and divergence within abstract painting from the 1930s to the present.

Included are the works of early modernists, Ilya Bolotowsky, Burgoyne Diller, José de Creeft, Balcomb Greene, and Gertrude Greene, whose internationalist vision provided a basis for abstract expressionism. From the cross-fertilization of this dynamic, transformative movement, artists developed their own voices, as is reflected in the paintings of Theodoros Stamos, John Little (a friend of Jackson Pollock and Lee Krasner), Melville Price (a close friend of Franz Kline), Betty Parsons (the legendary dealer who was also a serious artist in her own right), Charlotte Park (also close to Pollock and Krasner), and Judith Godwin; the last three represent the important contribution of women to a forum once considered exclusively male.

The cool austerity of color field painting is exemplified in Ludwig Sander's Corinth (1972) and Robert Motherwell's Open #29 in Crimson and Charcoal , included in the artist's historic 1969 show of his Open series. The individualistic directions spawned from earlier underpinnings may be seen in the resonant surfaces of the paintings of Frank Bowling, the experimental work of Dan Christensen, who was recently acclaimed in the New York Times for assimilating Process Art into painting with "ease and flair," and the art of Frank Wimberley, whose paintings are both simmering and quietly analytical.

The ways in which abstraction has subsequently afforded personal trajectories are apparent in the exuberant works created by James Daugherty when he returned to abstraction at the end of his career, the vivacious, large-scale works by Jasmina Danowski, the sensuous color and suggestive qualities of a waterfall by Louisa Chase, the synthesis of mathematics and intuition in the art of Michiel Gloeckner (a student of Paul Klee), and the subtlety of variation within the meticulously rendered, deceptively simple minimalist paintings of Teo González.