Friday, September 23, 2016

Very Fine Art Book a new publication on Albert Kotin



Albert Kotin Abstract Expressionsit of the 1950s

Review on amazon.com By Stootz, Art Lover on September 20, 2016 Format: Library Binding This isn't my first review of a NY School Press book. I get incredibly excited and anxious when I hear a new title comes out. Ms Herskovic's books are incredibly accurate due to her research. Its not what "Joe tells Susan".  Its digging for the truth. What appears is a sumptuous, fact filled, tour d'force. I have always heard of Albert Kotin but had no idea of the breadth of his work. From his easel paintings and murals with the WPA to his breathtaking Abstract Expressionist canvases, you get to see the journey of an incredibly gifted artist. You do not have to know that he was one of the major artists of the New York School and participated in all the Annuals. Just turn the pages and you know you are in the midst of greatness. Large color photographs, over 350 pages, and artist's statements, letters from his famous artist friends, fine portraits, and period photos, take you on a journey through the difficult hard working life of a very special talent!

   Albert Kotin was among the 24 artists:

   -James Brooks, Nicolas Carone, Giorgio Cavallon, Elaine De Kooning, Willem De Kooning, 
   Enrico Donati, John Ferren, Perle Fine, Michael Goldberg (Stuart), Robert Goodnough, 
   Grace Hartigan, Hans Hofmann, Earl Kerkam, Franz Kline, Albert Kotin

   Conrad Marca-Relli,  Joan Mitchell, Robert Motherwell, Richard Pousette-Dart, 
   Milton Resnick, James Rosati, Louis Schanker, David Smith, Esteban Vicente-  
   who were chosen out of the total 256 participants and were included in the famous 
   9th St. Show, (1951) and in all the following New York Painting and Sculpture Annuals 
   from 1953 to 1957. These Annuals were important because the participants were selected 
   by the artists themselves.
   

   Ed. by Marika Herskovic, 
   ​ISBN: 0967799430  
​   New York School Press, 2016. 
   Hardcover  with jacket, 12 x 9 inches, 131 full-page color art reproductions, 
   Printed in Germany,  356 pages, indexes.

   The book can be acquired at:
  
amazon.com

ALBERT KOTIN AMERICAN ABSTRACT EXPRESSIONIST of the 1950s


Albert Kotin Early New York School Abstract Expressionist

Albert Kotin  Early New York School  Abstract Expressionist  

Albert Kotin belonged to the early generation of New York School Abstract Expressionist artists. He was among the 24 artists from the total of 256 participants who were included in the famous "9th St." Show, (1951) and in all the following New York Painting and Sculpture Annuals from 1953 to 1957. These Annuals were important because the participants were chosen by the artists themselves.

Alexander Calder wrote in 1968: 
“As long as there are people such as Al Kotin, there is no danger to art.” 
From Albert Kotin personal notes. Private collection All rights reserved by the artists or his delegates.

This blog intends to enlighten not only our own generation but the subsequent generations to come to reevaluate art’s mainstream and to shed new light on the American art heritage. It may also serve as an invaluable tool for preventing and fighting art-forgeries.

Albert Kotin the early years: 1923-1930


“My earliest memories are of my parents scraping down the walls of our home on which I had drawn. Beginning in 1923 I studied at the New York Arts Student League and at The National Academy of Design and with Charles Hawthorn in Provincetown.”


Albert Kotin, Blacksmith, 1928. Oil on canvas.Photograph
Private collection
All rights reserved by the artists or his delegates.
 

“In 1929 I went to Paris for two years and studied at the Academiè Julian, the Grand Chaumiere and at the Atelier de Fresque under the wonderful old boy (Paul Bodin) who in his youth had worked with Puvis de Chavanne.”
From Albert Kotin personal notes. Private collection
All rights reserved by the artists or his delegates.

From Wikimedia Commons, the free media repository
Media in category "Académie de la Grande Chaumière"
Text is available under the Creative Commons Attribution/Share-Alike License
Albert Kotin, Untitled, 1930
Watercolor on paper, 11 3/4 x 12 inches
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, Nude Study, 1930
Sepia on paper, 16 3/8 x 9 1/2 inchesPrivate collectionAll rights reserved by the artists or his delegates.


Albert Kotin-The Depression-Federal Art Project (FAP)
1931-1943.

During The Great Depression in 1931 Albert Kotin returns to the USA:

“On my return to New York late in 1931 the depression was at its deepest. For a time I assisted a mural painter who was doing a church. Later I was commissioned to do a mural for the Sociology Department of New York University. (The painting has since disappeared, it was as if my parents were still scrubbing down walls).”
From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.


Albert Kotin, Mural
for the Sociology Department of New York University, 1931
Photograph by Maurice Bratter
310 West 71st St. NY
Acquired by Robert E. Rose, Waterford, VA
Sold by the above to Dr. C. J. Friedlender, Washington, D.C.
All Rights Reserved by the artists or his delegates.




Albert Kotin during the Great Depression participated in The Federal Art Project (FAP) and in the WPA. 
As with the other Federal cultural projects of the time, the 
program sought to bring art and artists into the everyday life of communities throughout the United States, through community art centers, exhibitions and classes. 

“When the WPA was formed I went with them as an easel painter.”
From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.


Albert Kotin, The Sand Pit, 1936
Watercolor on paper, 14 1/4 x 19 inches
Everson Museum of Art, Syracuse, NY
All Rights Reserved by the artists or his delegates.


Albert Kotin, The Sand Pit II, 1936
Watercolor on paper, 14 1/4 x 19 inches
Private collectionAll rights reserved by the artists or his delegates.

Albert Kotin, Foreclosure, 1937
Watercolor on paper, 16 x 21 inches
Private collectionAll rights reserved by the artists or his delegates.

Albert Kotin resigned from the WPA as an easel painter in 1938 after winning first prize in a National Mural Competition. Kotin was awarded fist prize by the Treasury Department for Murals in the Arlington, New Jersey.
The Post office murals were funded by the Section of Fine Arts under the Treasury Department and not the WPA.

Albert Kotin, Murals (The City) and (The Marsh), 1938
Oil on canvas. Image courtesy of the USPS. Photograph taken by USPS Supervisor, 2006.
The Arlington name was dropped and changed to Kearny on January 1, 1955.


Albert Kotin Traveled to Mexico, 1939-1940


Albert Kotin, Mexican Holiday, 1939
Gouache on paper, 19 x 13 1/2
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, The Cock Fight, 1939
Oil on canvas, 24 x 24 inches
Private collectionAll rights reserved by the artists or his delegates.



Albert Kotin, Clown, 1940
Oil on board, 23 1/2 x 17 1/2
Private collectionAll rights reserved by the artists or his delegates.



Albert Kotin participation in Military Service
World WarII 
1941-1945.

From Albert Kotin’s recollection of World War II. 

“But then the war in Europe began to make its presence felt. All Federal Buildings were canceled and the nation began girding for war.I too girded.I became a draftsman for a while and when I felt it wasn’t enough I invited the army to call me in. The army opened its arms. I became an instructor in cartography at the Engineers School at Fort Belvoir, VA.”From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.




THE GI BILL
The official title was the "Servicemen's Readjustment Act" and President Franklin D. Roosevelt signed it in 1944, even before the war ended.

For most, the educational opportunities were the most important part of the law. WWII veterans were entitled to one year of full-time training plus time equal to their military service, up to 48 months. The Veterans Administration paid the university, trade school, or employer up to $500 per year for tuition, books, fees and other training costs. Veterans also received a small living allowance while they were in school.

Thanks to the GI Bill, millions who would have flooded the job market instead opted for education. In the peak year of 1947, Veterans accounted for 49 percent of college admissions. By the time the original GI Bill ended on July 25, 1956, 7.8 million of 16 million World War II Veterans had participated in an education or training program.

Hans Hofmann at his summer school in Provincetown under auspices of the "G.I. Bill" provided for veterans of World War II.
Albert Kotin’s recollection:

“On my discharge (honorable) I resumed painting and went to study 
with Hans Hofmann who had been a friend and whom I respected highly.”From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.


Hans Hofmann, Provincetown, 1947. photo ©
Courtesy Maria Hans & Renate Hofmann Estate.

Early Paintings after returning from World War II.

Albert kotin, Untitled, 1947
Oil on canvas, 24 x 20 inches.
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, Strugle between Plant and Insects, 1948
oil on canvas, 36 x 30 inches
Exhibited:
Group & 2," New School for Social Research, November 28 - December 14, 1948
Private collectionAll rights reserved by the artists or his delegates.

Albert Kotin, Moment of Flight, 1948
Oil on canvas, 21 x 36 inches
Exhibited:
"Group & 2," New School for Social Research, November 28 - December 14, 1948
Private collectionAll rights reserved by the artists or his delegates.

Albert Kotin, Halloween Night, 1948
Oil on canvas, 20 x 28 inches
Private collectionAll rights reserved by the artists or his delegates.

“Albert Kotin in his oils - pure abstractions - mood is established in color.
It is usually lyrical mood regulated by the unusually rythmic, in fact musical way in which Kotin varies intervals and directions of movement.”
Art Digest, 1951.  


Albert Kotin, Chinese Holiday, 1949
Oil and enamel on canvas, 36 x 22 inches
Private collectionAll rights reserved by the artists or his delegates.

In 1949 Albert Kotin joins THE CLUB and becomes a voting member.

The Abstract Expressionists were also identified as the New York School action 
painters. There wasn't any actual "New York School" where artists took classes; rather, the term is shorthand for a loose association of avant-garde artists who lived in New York in the mid-twentieth century, and who made art in the Abstract Expressionist style. The New York School artists in 1949 established a meeting place in New York's Greenwich Village, The Club, which became a hub of Abstract Expressionist debates and activities. 

Albert Kotin’s recollection:
“Also during these years The Club had been founded and I was a Voting Member (Member of the Board). We launched the Abstract-Expressionist Movement with the 9th Street Show. For some years this show was continued by the Stable Gallery as the New York Artists Annuals. I was in each of them.” 
From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.

Albert Kotin exhibits at The Hacker Gallery

Albert Kotin’s recollection:

“The same year of the 9th St. Show, 1951, I had my first one-man show 

at the Hacker Gallery.”From Albert Kotin personal notes. Private collection. All rights reserved by the artists or his delegates.


Albert Kotin, Untitled, 1950
Oil on canvas, 36 x 30 inches
Illustrated:
American Abstract Expressionists of the 1950s page:191
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, Untitled, 1950
Oil on canvas, 30 1/8 x 35 7/8
Private collectionAll rights reserved by the artists or his delegates.

The urgent need for gallery space and public exposure resulted in the now famous “9th St.” Show in 1951 in New York City. 


Franz Kline, Poster for "9th St." Show, 1951
Linoleum cut, 16 x 8 1/2 inches
"New York Painting and Sculpture First Annual"
From the book:
New York School Abstract Expressionists: Artists Choice by Artists
© New York School Press, 2000
The “9th St.” Show made it clear that the definition of first and second generation 
Abstract Expressionists was misleading, often nothing more than a critical ploy to further historical and commercial acceptance of a limited number of artists showing with 
established galleries.


Albert Kotin participation in the 9th St. Show and all the New York Artists Annuals


Albert Kotin, Predators, 1951
Oil on canvas, 36 x 28 inches
Exhibited:
"9th St." Show, 1951
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, Untitled, 1951
Oil on canvas, 57 x 37 inches
Private collectionAll rights reserved by the artists or his delegates.


Albert Kotin, Spanish Dancers, 1951
Oil on canvas, 36 x 48 inches
Exhibited:
Pennsylvania Academy of the Fine Arts, 1951
Private collectionAll rights reserved by the artists or his delegates


Albert Kotin, Untitled, 1954
Oil on canvas, 70 x 58 inches
Illustrated:
New York School Abstract Expressionists: Artists Choice by Artists page:208
Private collectionAll rights reserved by the artists or his delegates



Albert Kotin, Whispering Rain, 1957
Oil on canvas, 40 x 50 inches
Private collectionAll rights reserved by the artists or his delegates



Albert Kotin, Westerly, 1957
Oil on canvas, 69 x 79 inches
Illustrated:
American Abstract and Figurative Expressionism page: 141
Private collectionAll rights reserved by the artists or his delegates



Albert Kotin, Untitled, 1957
Oil on canvas, 48 x 36 inches
Private collectionAll rights reserved by the artists or his delegates



"TENTH STREET ARTISTS:INDIVIDUALS PREVAIL OVER THE GROUP"

Tenth Street a Geography of Modern Art by Harold Rosenberg

1959. Art News Annual, XXVIII
     
                                                                              
                           





Albert Kotin, October, 1958-59
Oil on canvas, 50 x 38 inches
Exhibited:
Grand Central Modern, 1958
Private collectionAll rights reserved by the artists or his delegates


Albert Kotin, Tropic, 1958
Oil on canvas, 50 x 38 inches
University of California, Berkeley Art Museum; Bequest of Albert Kotin
Exhibited:
Hans Hofmann and his Students, 1963-64An Exhibition Circulated by the Museum of Modern Art, New York, NY
Illustrated:American Abstract Expressionism of the 1950s: An Illustrated Survey page: 192
Private collectionAll rights reserved by the artists or his delegates




New York Figurative Expressionism of the 1950's
represented a trend where
"diverse New York artists countered the
prevailing abstract mode to work with the figure."


By the mid and late 50's in many of his works Albert Kotin demonstrated the importance of the figure.


Albert Kotin, Downbeat, 1954
Oil on canvas 42 x 32 inches
Private collectionAll rights reserved by the artists or his delegates



Albert Kotin, Self- portrait, 1962
Pen on paper
Private collectionAll rights reserved by the artists or his delegates


Albert Kotin Messenger 1967
Oil on canvas 14  10 inches
Private collectionAll rights reserved by the artists or his delegates


Albert Kotin Head c1968.
Oil on canvas, 29 3/4 x 36 inches
Illustrated:
Private collectionAll rights reserved by the artists or his delegates




Albert Kotin Testigos 1968, Quadriptych.
Oil on canvas, 104 x 63 inches.
Exhibited:
University Art Museum, Mexico City,
1968
Private collectionAll rights reserved by the artists or his delegates.










Albert Kotin is included in the books:








All the books may be obtained at:


Albert Kotin American Abstract Expressionist of the 1950s


Self Portrait ©Allan Tepper Photographer
    "To know Al Kotin is to come face to face wit a man whose life and work is a continual manifestation of integrity. Actually, I believe there is no other way."

Mathias Goeritz

   
      "As long as there are people such as Al Kotin, there    is no danger to art." 
                                                          Alexander Calder                                                                          

AMERICAN ABSTRACT EXPRESSIONIST
ALBERT KOTIN 
1907-1980 


Albert Kotin belonged to the early generation of  New York School
Abstract Expressionist Artists whose artistic innovation by the 1950s
had been recognized across the Atlantic including Paris. New York School
Abstract Expressionism represented by Jackson Pollock, Willem De Kooning,
Franz Kline and others became the leading art movement of the postwar era. 

Artists including James Brooks, Nicolas Carone, Giorgio Cavallon,
Willem & Elaine De Kooning, Enrico Donati, John Ferren, Perle Fine,
Michael Goldberg, Robert Goodnough, Grace Hartigan, Hans Hofmann,
Earl Kerkam, Franz Kline, Albert Kotin, Conrad Marca-Relli, Joan Mitchell,
Robert Motherwell, Richard Pousette-Dart, Milton Resnick, James Rosati,
Louis Schanker, David Smith, and Esteban Vicente were the 24 artists
from the total of 256 participants who were included in the famous 9th St. Show, (1951)
and in all the following New York Painting and Sculpture Annuals from 1953 to 1957.
These Annuals were important because the participants were chosen
by the artists themselves.


Albert Kotin, Predators, 1951
Oil on canvas, 36 x 28 inches
Exhibited:
"9th St." Show, 1951
All right reserved by the artist or his delegates.




 








Highly Recommended by CHOICE:








                                                         


Highly Recommended by CHOICE:









All the books may be obtained at: