Structure in Beiges

Freed received his B.F.A. degree in 1967 and his M.A. degree in 1968 from Fort Hays State University in Kansas. He was the founding director of The Daum Museum of Contemporary Art. Freed was also the head of the art department at State Fair Community College from 1968 to 2002 and served as the Director of Goddard Gallery in Sedalia, Missouri. Freed has been an advocate for the arts for many years. As a result of his active participation in the arts, Freed received a gubernatorial appointment to the Missouri Arts Council Board from 1984-1988. He also served as the legislative liaison for the Missouri Citizens for the Arts/Senate and Legislature. Besides receiving a National Endowment for the Arts in 1987 for a Design Arts Project Special Project Grant and a ?Creative Artist Project Grant? from the Missouri Arts Council in 1990, Freed has received several other grants and fellowships. His works appear in numerous collections such as the Saint Louis Art Museum, the Newark Museum in New Jersey, the Steinberg Art Museum at Washington University in St. Louis, Missouri, and the Museum of Art and Archaeology at the University of Missouri in Columbia, Missouri. During the past twenty years he has exhibited extensively throughout the United States. Freed is represented by galleries on the east coast, west coast, and the heartland.

Emerald Forest

Freed received his B.F.A. degree in 1967 and his M.A. degree in 1968 from Fort Hays State University in Kansas. He was the founding director of The Daum Museum of Contemporary Art. Freed was also the head of the art department at State Fair Community College from 1968 to 2002 and served as the Director of Goddard Gallery in Sedalia, Missouri. Freed has been an advocate for the arts for many years. As a result of his active participation in the arts, Freed received a gubernatorial appointment to the Missouri Arts Council Board from 1984-1988. He also served as the legislative liaison for the Missouri Citizens for the Arts/Senate and Legislature. Besides receiving a National Endowment for the Arts in 1987 for a Design Arts Project Special Project Grant and a ?Creative Artist Project Grant? from the Missouri Arts Council in 1990, Freed has received several other grants and fellowships. His works appear in numerous collections such as the Saint Louis Art Museum, the Newark Museum in New Jersey, the Steinberg Art Museum at Washington University in St. Louis, Missouri, and the Museum of Art and Archaeology at the University of Missouri in Columbia, Missouri. During the past twenty years he has exhibited extensively throughout the United States. Freed is represented by galleries on the east coast, west coast, and the heartland.

Reversal Structure

Freed received his B.F.A. degree in 1967 and his M.A. degree in 1968 from Fort Hays State University in Kansas. He was the founding director of The Daum Museum of Contemporary Art. Freed was also the head of the art department at State Fair Community College from 1968 to 2002 and served as the Director of Goddard Gallery in Sedalia, Missouri. Freed has been an advocate for the arts for many years. As a result of his active participation in the arts, Freed received a gubernatorial appointment to the Missouri Arts Council Board from 1984-1988. He also served as the legislative liaison for the Missouri Citizens for the Arts/Senate and Legislature. Besides receiving a National Endowment for the Arts in 1987 for a Design Arts Project Special Project Grant and a ?Creative Artist Project Grant? from the Missouri Arts Council in 1990, Freed has received several other grants and fellowships. His works appear in numerous collections such as the Saint Louis Art Museum, the Newark Museum in New Jersey, the Steinberg Art Museum at Washington University in St. Louis, Missouri, and the Museum of Art and Archaeology at the University of Missouri in Columbia, Missouri. During the past twenty years he has exhibited extensively throughout the United States. Freed is represented by galleries on the east coast, west coast, and the heartland.

Orange Rectangle and Black

The Abstract Expressionist artists preferred to be called the New York School artists. Motherwell, the youngest of the New York School artists received a bachelor?s degree in philosophy before deciding to become a painter. He was also the most affluent and educated of this group. The bohemian lifestyle of the others hardly resembled the wealthy trappings Motherwell was accustomed to. These differences in wealth and education didn?t seem to matter. Meyer Schapiro, his art history instructor introduced the European Surrealists to him and he became fast friends with most of them as well. Motherwell?s fascination with their use of automatism (the suspension of consciousness which allows one the freedom to uncover the ideas and images in the subconscious) led him to his experimentations with it. Surrealists employed conventional means when describing their findings but Motherwell believed automatism should be taken a step further than that. He felt that in the process of searching the unconscious and making discoveries about yourself, you must also retain the excitement of those moments as they become known. The Orange Rectangle and Black collage exhibits evidence of Motherwell?s astonishing ability to capture the vitality during moments of self- discovery. Motherwell?s drive for perfection served him well when he challenged himself to capture these rare moments.

Apollo Series

In childhood, Natkin recalls a dream where he dives into an Oriental rug and as he floats down into the rug he passes through bejeweled mazes of color that appear exotic to him. This recurring dream is not surprising to anyone familiar with this artist?s work, since much of Natkin?s work reminds one of textiles. He achieves this look by his use of cross-hatching, blottings, dottings and his own technique of transferring textures right onto the canvas by pressing with a heavy cloth or paper towel.

from the series Bath (Color Bath)

In childhood, Natkin recalls a dream where he dives into an Oriental rug and as he floats down into the rug he passes through bejeweled mazes of color that appear exotic to him. This recurring dream is not surprising to anyone familiar with this artist?s work, since much of Natkin?s work reminds one of textiles. He achieves this look by his use of cross-hatching, blottings, dottings and his own technique of transferring textures right onto the canvas by pressing with a heavy cloth or paper towel.

DA on P #4 Q1-73

Tworkov immigrated to the United States from Poland at the age of thirteen. He was among several of the New York School artists that worked with the Public Works of Art Project and then with the WPA. It was in the WPA where he met and befriended Willem de Kooning. In the late ?50s they shared a studio. The expressionistic brushstrokes in Untitled form a pattern of unrestrained energy. The interlocking reds and blues create a sense of unity. It appears to be some sort of grid or system similar to our own circulatory system. One can easily detect the influence that Cezanne and the Surrealists had on Tworkov. Cezanne?s expressionist brushstrokes certainly impressed Tworkov. The Surrealists favored the automatic method of painting and he seemed to employ this method in his work, too. This method required the artist to use his unconscious mind to paint. Pollock?s drip paintings were created in this fashion, too.

Untitled (#10-10)

McCollum is recognized as one of today?s leading contemporary artists. His work has been exhibited extensively worldwide. Recently, his work has appeared in exhibitions at the Whitney Museum of American Art in New York, The Museum of Modern Art in New York and the Pompidou Center in Paris, France. The current White House Twentieth Century American Sculpture exhibit also includes a work by McCollum. In this early work by McCollum, he divides the composition into rectangles that resemble bricks. He uses intersecting lines throughout the composition, which merge at some point and thus create a sense of resolution. The spaces created by the lines suggest a relationship between the precise lines and the spaces. This abstract geometric work on paper hints at McCollum?s later works that focus on duplication of objects. He has received widespread recognition for his duplicating works, which he began making in the 1970s.