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421:"The 1950s were critical years for many of the artists involved, and the Club offered a grounding site which bolstered their connections to one another, their confidence, and their status in the broader society." Winchell continues. "However, by the time the Abstract Expressionist movement had become the heart of the New York art world and put New York at the center of the international art community, the organization itself was no longer sustainable.... By varying accounts, the Club ceased to exist by the late 1950s or early 1960s ... although it was a significant part of this pivotal time in New York and America's history."
615:
835:
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217:, Pavia decided to organize regular gatherings of artists, writers and thinkers to socialize and discuss modern art in 1948. The result, inspired by the salons of Paris, the ethnic groups that then proliferated in Greenwich Village and a post-war desire for art that wasn't borrowed from Europe, was the 8th Street Club, known as "the Club," and its 1959–1970 successor group, also known as the "23rd Street Workshop Club." In 1958, Pavia extended the Club's work into a journal, with the short-lived but influential
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441:. Several had also served in the military during World War II, and many of them had been "gathering in the Village since the late 1930s, and later at the Waldorf Cafeteria at the corner of Sixth Avenue and West 8th Street," until they found themselves unwelcome there and, like the many ethnic clubs that proliferated during that period, they sought a space of their own. This larger group included
394:"The Club eventually organized formal Friday night lectures and panels featuring artists and thinkers who were invited by members and paid with a bottle of liquor, if they were paid at all," Louisa Winchell writes. "Those invited included philosopher Hannah Arendt, literary scholar Joseph Campbell, mathematical historian Jean Louis van Heijenoort, and composers
324:
demonstrates how various media constantly overlapped whether simply through discussion or in performance. Concerts, dances, and theatrical pieces were all hosted there. Poets, composers, painters, sculptors, filmmakers, and critics all rubbed elbows and argued with each other about aesthetics at the Club's many panel discussions...."
311:
problem inherent in the term 'Abstract
Expressionism' itself", which he points out is an "oxymoron: if something is abstract, it can't express," which explains why "there arose a push-pull between abstract forms and figuration (the same thing was happening in Europe) that yielded a rich variety of original work."
287:. For them, art was no longer about copying forms in nature but was the expression of intangible ideas and experiences. For some artists, such as Jackson Pollock, Willem de Kooning, and Franz Kline, the subject of art was autobiographical and emerged from the sheer act of making a painting. For others, among them
489:
The Club officially opened in
October of 1949. To celebrate the first idyllic months, the members organized a Christmas party for their families. In preparation, they covered the walls and ceilings with large collages, which they left in place for New Year's. The party that carried the Club into the
310:
makes another point entirely when he writes about the sheer quantity of "formal experimentation and theoretical ferment there was in New York art between 1952 (the year by which the
Abstract Expressionists had established themselves) and 1965.... You can see these downtown artists attempting solve a
266:
came for a visit and everybody lined up to see him.... Eventually, says, the refugees moved uptown, and the
Americans decided to take them on." First Pollock rejected surrealism and Jungian imagery, then de Kooning followed suit. After a series of Club lectures on expressionism and abstraction,
323:
the online
Atlanta-based arts magazine, after reviewing Pavia's Archive of Abstract and Expressionist Art at (MARBL), the Manuscript, Archives, and Rare Book Library at Emory University, which owns the collection, "but it was also a theater, a gallery space, and a dancehall.... he collection
224:
Originally envisioned as a regular debate about issues in art during twice-weekly lectures, members-only panel conversations and other events, as the Club was also, in part, a response to
American artists intimidated by the modernists who had taken refuge in New York after the war.
203:. Structured to facilitate the growth and dissemination of ideas about art by artists for artists, especially abstract expressionist art, The Club lent New York's art scene the vitality and international influence Paris had long monopolized, and U.S. artists had long craved.
802:
414:, echos Winchell's description — and Pavia's emphasis on dancing: "By day the artists would work, by night they would frequent "The Club", their private talking-shop, or dance in someone's studio – the tango, the jitterbug, even the
490:
new decade lasted three days. "This is the beginning of the next half century," Pavia declared. There was a sense of optimism, community, and artistic and intellectual revelry propelling the Club forward from the onset.
726:
267:
ideas from both started to merge, and
America's first major home-grown abstract art movement was on its way. Carolyn Kinder Carr, the Deputy Director of the National Gallery, explains the process this way:
550:
influence and challenges to the validity of formalist arguments were common, but weekly discussions at the Club also led to the idea of organizing the 9th Street Art
Exhibition as a launching pad.
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502:— who boycotted an upcoming "monster exhibition" at the Metropolitan Museum of Art's because of the jury's rejection of "advanced art," which led to a group photo of the artists for
878:, which Pavia founded as an alternate written and visual space for artists by artists was also inspired by the Club and all, or nearly all, of its contributors were Club members.
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1527:
406:
emphasizes the abundance of dancing that took place at the Club, quoting Philip Pavia: "Franz and Joan would dance 'until they rolled on the floor dancing horizontally.
167:
during the late 1940s and early 1950s. Membership included many of New York's most important mid-century artists and thinkers, predominantly painters and sculptors like
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872:, which introduced the Western art world to the first American art movement with international influence was planned during weekly discussion groups at the Club.
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598:
481:." Helmed by Philip Pavia, they rented and repaired a loft at 39 East 8th Street, which was conveniently located at the center of the arts community near
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Mainly painters and sculptors, but also dancers, poets, musicians and writers, including art critics, art historians and other kinds of cultural thinkers
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has been called "a schoolhouse of sorts ... as well as a theater, gallery space, and a dancehall...." Created by abstract expressionist sculptor
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1330:
1000:
865:'s influential essay "The American Action Painters" (1952) evolved from Club panels convened by Pavia on "problems" of Abstract Expressionism.
391:, when recalling Pavia's observation, "If it wasn't for our persistent gatherings, I am sure we would have all become loners and faded away."
921:
Harold
Rosenberg, "Tenth Street: A Geography of Modern Art," Art News Annual XXVIII, 1959, New York: Art Foundation Press, Inc. pp. 120–14
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975:"Philip Pavia: Sculptor and champion of Abstract Expressionism who did much to shift the epicentre of Modernism from Paris to New York".
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1240:
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1153:
Pavia's
Archive of Abstract and Expressionist Art at (MARBL), the Manuscript, Archives, and Rare Book Library at Emory University
900:"On Not Becoming Loners and Fading Away: An Overview of the Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art"
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630:
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694:
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546:, and bi-weekly discussions nurtured artists' theories about art, culture and the artist's role in it. Dislike of French
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But other celebrated artists, cultural figures and major 20th-century thinkers attended meetings, including philosopher
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151:, The Club grew out of the informal gatherings among dozens of painters and sculptors who all had art studios in
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1088:"The Club records kept by Philip Pavia, 1948-1965 | Archives of American Art, Smithsonian Institution"
1070:"Pavia, Philip, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913–2005"
339:"Debates at the Club covered a variety of art- and philosophy-related topics, bringing in non-members like
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Inspired by French salons and the camaraderie and cross-influences of artists who had participated in the
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510:. As abstract expressionism developed, Club membership also extended to numerous forms of it, including
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279:, two dominant strains in American art in the 1930s, and by their interest in aspects of European-based
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If it wasn't for our persistent gatherings, I am sure we would have all become loners and faded away.
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To provide an organized contemporary fine arts forum for discussion, debate, lecture and performance
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eloquently postulated, "art was not about an experience, but was itself the experience."
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Greenwich Village Society for Historic Preservation: Village Preservation – Off the Grid
402:.... The Club also hosted frequent rap-sessions and parties after exhibition openings.
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Abstract expressionist art movement in America video documentation project, 1991–1992.
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Phillip Pavia, "Club Without Walls: Selections from the Journals of Philip Pavia"
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Once informally known as the Downtown Group, many of the Club's artists were former
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Those associated with Abstract Expressionism were linked by their rejection of both
228:"here were geniuses walking in the streets, you know. About 30 of them," Pavia told
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Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library
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Associated Press (April 17, 2005). "Philip Pavia, 94, pioneer sculptor".
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1001:"Art/Architecture; The Art Was Abstract, the Memories Are Concrete"
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New York School Abstract Expressionists Artists Choice by Artists,
319:"The Club was a schoolhouse of sorts," writes Devin M. Brown, for
1180:
Club Without Walls: Selections from the Journals of Philip Pavia
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Club Without Walls: Selections from the Journals of Philip Pavia
389:
Club Without Walls: Selections from the Journals of Philip Pavia
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1214:"New York nights: the Manhattan of the Abstract Expressionists"
295:, the motivation was a search for the sublime. Yet for all, as
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Club members eventually included all, or nearly all, of the
955:"When 'the Club' Ruled the Art World from East 8th Street"
1280:
Thyssen, Esther T. (2016). "Pavia, Philip (1912–2005)".
1136:"Thirteen Crucial Years for Art in Downtown New York"
187:, as well as nearly all the artists later called the
498:, as well as the painters and sculptors — so-called
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437:, Bill de Kooning, Landes Lewitin, Franz Kline and
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1031:"The Club It Is: A Conversation with Philip Pavia"
1254:"John Ferren | Smithsonian American Art Museum"
410:" Morgan Falconer, writing for the blog at the
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475:John Ferren (who served as President in 1955)
211:Called an "outspoken avant-garde thinker" by
8:
27:
1284:. The Routledge Encyclopedia of Modernism.
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359:, which helped lend currency to the term "
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1538:Arts organizations disestablished in 1957
1528:Arts organizations based in New York City
856:9th Street Art Exhibition § legacy
747:(Selection was limited by availability.)
559:(Selection was limited by availability.)
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534:and so on. Lectures by luminaries like
351:, among others," and bringing together
1533:Arts organizations established in 1949
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18:The Club (fine arts membership group)
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1212:Falconer, Morgan (September 2016).
953:Winchell, Louisa (April 3, 2019).
876:It is. A Magazine for Abstract Art
219:It is. A Magazine for Abstract Art
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999:Larson, Kay (December 15, 2002).
116:Arts, culture and humanities club
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1134:Menand, Louis (March 28, 2017).
898:Brown, Devin (August 15, 2013).
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55:The NYC location of its meetings
1235:(New York School Press, 2000.)
1029:Bui, Phong (February 1, 2001).
1553:Abstract expressionist artists
1290:10.4324/9781135000356-REM892-1
1:
1523:20th-century American artists
1218:The Royal Academy of Art blog
1114:"Rebel Painters of the 1950s"
74:The 23rd Street Workshop Club
1282:"Pavia, Philip (1912–2005)."
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506:Magazine by photographer
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1092:Archives of American Art
363:." Art members included
234:in 2002. "They included
1183:. Midmarch Arts Press.
1177:Edgar, Natalie (2007).
199:and political theorist
1548:Abstract expressionism
1543:American art movements
1418:Abstract expressionism
1112:Kinder Carr, Carolyn.
1068:Pavia, Philip (2004).
654:Frederick John Kiesler
554:Painters and sculptors
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361:Abstract-Expressionism
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604:Painter and sculptor
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412:Royal Academy of Arts
277:geometric abstraction
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159:and 12th streets and
1358:Abstract photography
776:Poet and surrealist
1448:Organic abstraction
883:Notes and reference
760:Political theorist
734:Robert Rauschenberg
520:lyrical abstraction
433:artists, including
431:Federal Art Project
141:The Club (1949–1957
65:Federal Art Project
29:
1383:Hard-edge painting
1258:americanart.si.edu
1118:New York Art World
1006:The New York Times
742:Other contributors
716:Sculptor-designer
670:Conrad Marca-Relli
469:, Lewin Alcopley,
443:Conrad Marca-Relli
381:Aristodimos Kaldis
379:, Landes Lewitin,
231:The New York Times
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1428:All-over painting
1035:The Brooklyn Rail
870:Ninth Street Show
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606:Willem de Kooning
592:in the late 1950s
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471:Frederick Kiesler
377:Robert Motherwell
369:Willem de Kooning
365:Elaine de Kooning
185:Robert Motherwell
169:Willem de Kooning
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979:. May 23, 2005.
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153:Lower Manhattan
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387:. Brown cites
373:Barnett Newman
357:Expressionists
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289:Barnett Newman
273:social realism
260:Marcel Duchamp
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