Cy, Oh Sigh #CyTwombly#NineDiscoursesOnCommodus 1963 In late 1963 Twombly devoted a cycle to the Roman Emperor Commodus (161-192) son of Marcus Aurelius, remembered as cruel and bloodthirsty ruler. The paintings convey the climate of violence that prevailed during the reign marked by executions and terror. Shown at #LeoCastelli's in the spring of 1964 these paintings were roundly condemned by the critics. Won to the newly emergent Minimalism, the NY public was unable to grasp Twombly's ability to render on canvas the complex psychological phases informing life and death of the emperor, who was unable to reign without resorting to assassination.
Robert Morris, "Continuous Project Altered Daily", 1969, (earth, clay, asbestos, cotton, water, grease, plastic, felt, wood, threadwaste, electric lights, photographs, and tape recorder, dimensions variable.) Completed and shown over the course of twenty days in March 1969 at Leo Castelli Warehouse, New York #RobertMorris#LeoCastelli
LEO CASTELLI "Castelli in 1960 surrounded by artwork in his gallery (L-R): 'Arundel Castle' by Frank Stella, 'Flag' by Jasper Johns, 'Untitled' by Lee Bontecou, 'Torso' by Eugene Higgins and 'Bed' by Robert Rauschenberg." Photograph by Eliot Elisofson Getty Images
THE LEO CASTELLI GALLERY OPENS Castelli became frustrated after years of bartering deals with Sidney Janis, and set out to open his own gallery space. In February 1957 he opened his gallery in his fourth-floor apartment on the Upper East Side of Manhattan. Initially unsure of what he wanted the gallery to represent, Castelli exhibited European works by Léger, Picasso, Mondrian, Kandinsky and Dubuffet along with various Abstract Expressionist works by Pollock, Smith and de Kooning. The first major exhibition for the gallery occurred in May of that year, entitled New Works, where Jasper Johns' early "Flag" (1955) painting was unveiled, along with Rauschenberg's "Gloria" (1956) and the works of other artists who marked a new phase in New York art. Of Johns and Rauschenberg in particular, Castelli recalled in 1970 that these two were his most loyal clients: "Although I knew already that Jasper Johns and Rauschenberg would be the stars of my gallery, I did not imagine that they would be the ones who appeared at the very beginning and would still be with me. There are no others except those two." In 1958, the gallery held solo exhibitions for each artist. #LeoCastelli#CastelliGallery#RobertRauschenberg#JasperJohns#art#artist#artiststudio#gallery#galleryshow#newyork#newyorkscene#1950s#DanBudnik
CASTELLI & RAUSCHENBERG The Early Days: Barnett Newman, Robert Rauschenberg, and Leo Castelli at a party in 1950. THE NINTH STREET SHOW (MAY 21 - JUNE 10, 1951) AT 60 EAST 9TH ST. Castelli called the Ninth Street Show "a celebration of Abstract Expressionism." The critic Irving Sandler recalled, "With the help of Leo Castelli, a group of charter members [John Ferren, Franz Kline and Conrad Marca-Relli] leased an empty store at 60 East Ninth Street for $70, and drew up an initial list of participants." Of the 60 or so works on display, included in the show were Pollock's Number 1 (1950) and de Kooning's Woman I (1950-52). Even though several major figures were absent from the exhibit (Still, Newman, Rothko, Gottlieb and Baziotes), one notable presence was Castelli's inclusion of a then unknown Robert Rauschenberg. Castelli once commented, "I decided to include Rauschenberg in that show, even though at the time the work seemed to have little to do with the Abstract Expressionist dogma. Perhaps it was an advance sign that I already saw beyond the Abstract Expressionists." #LeoCastelli#RobertRauschenberg#NinthStreetShow#ninthstreet#newyork#gallery#galleryshow#art#artexhibition#earlydays#1950#1950s#abstractart#abstractexpressionism#americanart
ANDY & JASPER JANUARY 31 - FEBRUARY 25, 1961: "JASPER JOHNS: DRAWINGS AND SCULPTURES" AT THE LEO CASTELLI GALLERY. (LC)
According to "Pop: The Genius of Andy Warhol," published in 2009, it was at this exhibition that Warhol first met Johns. That book (and every other Warhol biography) repeats a story that is also recounted in "POPism: The Warhol Sixties" where Warhol asks his friend Emile de Antonio why Jasper Johns (and Johns' lover, Robert Rauschenberg) "didn't like" Warhol and de Antonio says it was because Warhol was too "swish;" was a commercial artist; and was also an art collector himself. Johns denied the explanation in an interview conducted by Paul Taylor in 1990. By January 1962 Warhol and Johns were friends - sometimes having dinner together and going to movies with each other. #JasperJohns#AndyWarhol#RobertRauschenberg#LeoCastelli#gallery#galleryshow#firstmeeting#1960s#artworks#art#works#artworld#newyork#leocastelligallery
Andy #Warhol had a satirist’s understanding of money, and its power as a symbol of consumerism and decadent excess. Taking art’s commercial presence as his subject, he once quipped that it would be preferable to hang a bundle of money on your wall instead of purchasing a painting of equal value. In ‘Dollar Sign’, Warhol synthesises the two imperatives of an affluent lifestyle: the suggestion of money, and the visual excitement of an artwork. This is the most mature instance of the dollar sign in Warhol’s art, and he used it on many occasions earlier in his career. It first appeared in early drawings depicting soup cans stuffed with dollar bills, and later in his monochrome advertisement paintings. In 1962, the dollar bill was the central subject of his first series of #silkscreen prints. This particular Dollar Sign belongs to a cycle of works first exhibited with Leo #Castelli at his Greene Street gallery in 1982. Come see it at the #Dickinson#Masterpiecefair stand D2 between 29th June and 5th July. - Andy Warhol, ‘Dollar Sign’, 1981, synthetic paint and silkscreen ink on canvas - #andywarhol#popart#dollarsign#leocastelli#masterpiece