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Nicholas KrushenickNorth End ( Reference to Chicago's gay sports bar in Boystown near Wrigley)1978
1978
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About the Item
Nicholas Krushenick 's "North End" is a color silkscreen pencil signed, dated, and editioned; proof from the published edition of 200, .
Nicholas Krushenick (American, 1929 – 1999)
Born in New York City in 1929, Krushenick served in World War II, then studied art on his return to home life. He attended the Art Students League of New York (1948–1950) and the Hans Hofmann School of Art (1950-1951). He began in a figurative style, then moved from one to another of several varieties of Abstract Expressionism. The soft brushwork he favored before the 1960s was abandoned for hard-edge black stripes that cut through jewel-like colors. A formality and brilliance of color reminiscent of medieval Europe’s banners is apparent in his art. He melded Pop Art with Abstract before anyone else.
Krushenick began showing his work publicly in New York in 1957, at the age of 28. By 1962, he was shown at upscale galleries and, by the year 2000, his work was included in nearly every major avant-garde exhibition and part of major permanent collections throughout New York and the United States.
In his later years, Krushenick taught at the University of Maryland, College Park from 1977 to 1991. He died in New York on February 5, 1999, at age 69.
Nicholas Krushenick (American, 1929 – 1999)
Born in New York City in 1929, Krushenick served in World War II, then studied art on his return to home life. He attended the Art Students League of New York (1948–1950) and the Hans Hofmann School of Art (1950-1951). He began in a figurative style, then moved from one to another of several varieties of Abstract Expressionism. The soft brushwork he favored before the 1960s was abandoned for hard-edge black stripes that cut through jewel-like colors. A formality and brilliance of color reminiscent of medieval Europe’s banners is apparent in his art. He melded Pop Art with Abstract before anyone else.
Krushenick began showing his work publicly in New York in 1957, at the age of 28. By 1962, he was shown at upscale galleries and, by the year 2000, his work was included in nearly every major avant-garde exhibition and part of major permanent collections throughout New York and the United States.
In his later years, Krushenick taught at the University of Maryland, College Park from 1977 to 1991. He died in New York on February 5, 1999, at age 69.
- Creator:Nicholas Krushenick (1929-1999, American)
- Creation Year:1978
- Dimensions:Height: 33 in (83.82 cm)Width: 24 in (60.96 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU84134734981
Nicholas Krushenick
orn in the Bronx, New York in 1929, Nicholas Krushenick studied painting at the Art Students League of New York and the Hans Hofmann School of Fine Arts. After completing his training, Krushenick designed window displays and worked in the Framing Department of the Museum of Modern Art. From 1957 to 1962, the artist, along with his brother John, operated the now legendary Brata Gallery in Manhattan’s East Village. Brata displayed the works of many of the foremost artists of the day, including, among others: Ronald Bladen, Ed Clarke, Al Held, Yayoi Kusama, and George Sugarman. Krushenick first developed his signature “pop abstract” style in the early 1960s. The loose geometries and web-like forms of his early paintings demonstrate his deliberate caricature of Abstract Expressionist “drips” or “skeins” into what more closely resemble details from cartoons—like Superman’s hair follicles, as critic Robert Rosenblum once described. The high-keyed color, formal rigor, and sheer graphic intensity of his paintings set Krushenick apart from his contemporaries. As a result, decades after its creation, Krushenick’s work still appears remarkably fresh. During the 1960s and 1970s, Krushenick had solo exhibitions at many of the most influential and prestigious galleries, including: Graham Gallery (1958, 1962, 1964, New York), Fischbach Gallery (1965, New York), Galerie Sonnabend (1967, Paris), Galerie Ziegler (1969, Zürich), Galerie Beyeler (1971, Basel), and Pace Gallery (1967, 1969, 1972, New York). During this period, his work also figured prominently in many landmark museum exhibitions, such as Post Painterly Abstraction (1964, Los Angeles County Museum of Art), Vormen van de Kleur (1964, Stedelijk Museum), Systemic Painting (1965, Solomon R. Guggenheim Museum), and Documenta 4 (1968, Fredericianum), among others. In 1968, the Walker Art Center mounted a retrospective exhibition of Krushenick’s work. His first European retrospective came four years later, in 1972, at the Kestner-Gesellschaft in Hannover, Germany. In 2015 he had a retrospective at the Tang Gallery, Skidmore College, Saratoga Springs, New York entitled Nicholas Krushenick: Electric Soup. Krushenick’s work is featured in the collections of over sixty major museums, including: the Albright-Knox Art Gallery; the Baltimore Museum of Art; the Cleveland Museum of Art; the Dallas Museum of Fine Art; the Empire State Art Collection; the Grey Art Gallery, New York University; the Los Angeles County Museum of Art; the Metropolitan Museum of Art; the Museum of Modern Art; San Francisco Museum of Modern Art; the Smithsonian American Art Museum, Washington, D.C.; the Stedelijk Museum; the Virginia Museum of Fine Arts, Richmond; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art.
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