PALM SPRINGS FINE ART FAIR

February 17 through 19, 2012

Palm Springs Convention Center

Inaugural Year of the Fair and our first trip to Palm Springs.

THEODORE HAUPT, THE THREE GRACES, 1941

It’s Modernism Week in Palm Springs: THEODORE HAUPT'S Acrobats, 1939, and Three Graces, 1941, HUGH MESIBOV'S Mechanical Dancers, 1943, and ANNE RYAN'S Collage, 1951, will all be on view. 

We're featuring Industrial Realism with FRED SHANE'S monumental painting Clam Shell Dredge, 1952, JUDITH SHAHN’S Plimsoll Line, 1949, and CHARLES KELLER'S Saturday Siesta, 1946. PEGGY BACON & HER CIRCLE show up as well with drawings and prints by ISABEL BISHOP, REGINALD MARSH, and MARGUERITE ZORACH.   

Also on hand will be works by WILL BARNET, HOWARD DAUM, DOROTHY DEHNER, PETER GRIPPE, FANNIE HILLSMITH, BERNARD ROSENQUIT, and LOUIS SCHANKER.

FRED SHANE, CLAM SHELL DREDGE, 1952

The big news is that curator Peter Frank selected paintings by DOROTHY BROWDY KUSHNER and FRED SHANE for the exhibition The Big Picture, on view at the Fair. Sub-titled Paintings from Southern California, 1960-1980, The Big Pictures is designed to celebrate the development of the LA art scene, and is part of the multi-venued extravaganza, Pacific Standard Time.

Report from Miami

Susan Teller Gallery at Art Miami, A-85

Hugh Mesibov, Dialogue in Armor, 1944

We are still in Florida but heading back to NYC tomorrow. The fairs seemed like a success all around. Art Miami was great with an attendance of more than 40,000. Visitors seemed happy to be there and were very complimentary of the show.  In particular we had interest in works by Hugh Mesibov, Fred Shane, and Lynd Ward.

It’s just beautiful here today although with a projected high in the 60s it isn’t beach weather.

FRED SHANE, Paintings, 1928-1990

Fred Shane

Climax, Colorado, 1943-44 



On view:
October 1 through 30, 2010

Fred Shane (1906-1990) was a regionalist, surrealist, muralist, and long-time teacher at the University of Missouri. Widely admired for early down-to-earth portraits of his all too human mid-western neighbors, his landscapes of Colorado and California ranged from awe-inspiring to affectionate views of tourist foibles. His surrealist pieces are among the strongest produced in post-war America.