Very Fine Art Book a new publication on Albert Kotin

Albert Kotin Abstract Expressionsit of the 1950s

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.

"To know Al Kotin is to come face to face with a man whose life and work is a continual manifestation of integrity. Actually, I believe there is no other way."
                                                                              Mathias Goeritz


Alexander Calder wrote in 1968: 
“As long as there are people such as Al Kotin, there is no danger to art.” 

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.  

                                                           

Albert Kotin American Abstract Expressionist of the 1950s

Review by Rachel Jagareski April 25, 2017

Clarion Review:

"This book does much to elevate Albert Kotin into his rightful
place alongside the other greats of abstract expressionism.
A well-researched monograph on Albert Kotin, a Russian-born
American artist who was one of the first generation of abstract
expressionists working and exhibiting in postwar New York City. 
[It] illuminates its subject’s prolific artistic output, and details his
relationships with other New York School artists and writers 
during this exciting period.

Herskovic’s survey of Kotin’s oeuvre is not only a well-documented
work of scholarship, but it also heralds the importance of this
modern American artist. It includes an unearthed 1964 
New York Herald-Tribune review of a one-man exhibition of
Kotin’s work at the Byron Gallery:  
Though neglected, Kotin’s statement has the unmistakable ring
of truth and conviction.”

Library Binding with index. 356 pages,
131 full-pages color art reproductions.

E-mail: nyschoolpess@aol.com