Modern and Contemporary Works on Paper
June 4 – July 16, 2005

Forum Gallery
8069 Beverly Blvd. (at Crescent Heights Blvd.), Los Angeles, California 90046
Contact: Niccolò Brooker/Marvella Muro
Telephone: (323) 655-1550, Fax: (323) 655-1565
Hours: Tuesday – Saturday, 10 a.m. to 5:30 p.m.
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Mikhail Larionov, “Design for a Shadow Puppet”, c. 1917-23, gouache and pencil on paper, 9 x 6 inches.

Los Angeles, California – Forum Gallery presents the exhibition Modern and Contemporary Works on Paper from June 4th to July 16th, 2005. Interspersing examples by 20th century masters with those of artists represented by Forum Gallery, the exhibition celebrates a variety of mediums while displaying a great range of styles and subject matter.
Romare Bearden’s The Tenement World is a captivating testimony to this extraordinary African American artist’s vision in interweaving mixed media to generate powerful images. An intricate and ingenious collage of various papers heightened with watercolor and ink and laid down on board, the work consists of a maze of images in and outside of an impoverished dwelling. The Tenement World is also homage to Bearden’s commitment to the rich cultural life of Harlem in 1969, the year in which New York’s Metropolitan Museum of Art held its seminal exhibition Harlem on my Mind. An undying aficionado of jazz music, Bearden’s own work often portrays jazz, just as it usually evinces jazz’s own spontaneity of execution and repetition of motifs.
Pablo Picasso’s Man and Flutist is a classic example of the artist’s 1960s approach to the male form: usually theatrical , often reflecting the masculinity and sexual attributes that Picasso was steadily losing.  Executed in red and brown crayon, the drawing is as bold and inimitable as the artist himself.  Soft Clock by Salvador Dali was undoubtedly done the same decade the Surrealist master painted his famous The Persistence of Memory (1931) in which a series of limp and dissolving clocks occupy a bleak landscape. By this time inextricably bonded to the histrionic femme fatale of Surrealism, Gala, and at the height of his so-called “paranoiac-critical” method which he based on Freudian concepts of the subconscious, Soft Clock highlights Dali’s relentless skill as a draftsman as much as it is an iconic image by which the movement is remembered.
Contemporary artists include Robert Cottingham whose strikingly realistic Lynn’s Portable Close-up depicts a vintage typewriter, part of the artist’s Still Life series which he began in the late 1990s.   Testimony to the industrial progress of Modernism at the mid 20th century, Lynn’s Portable Close-up is precious portal to an emotional idealism linked with America’s past.  Self-portrait by Susan Hauptman propels the viewer into an imaginary, evanescent land in which the artist’s own womanhood is raptly examined.  Frederick Brosen’s watercolors Frick Façade and Flatiron Building are extraordinarily meticulous and disclose his love of his native New York just as Steven Assael’s delicately rendered Alex with Green Wash reveals this artist’s deep affection for his sitter.

Other artists represented in Modern and Contemporary Works on Paper are George Ault, William Bailey, Robert Bauer, William Beckman, Kent Bellows, Emil Bistram, Oscar Bluemner, Ilya Bolotowsky, Charles Burchfield, Andrew Dasburg, Preston Dickinson, Arthur Dove, Philip Evergood, Lucian Freud, Gregory Gillespie, Arshile Gorky, John Graham, George Grosz, Wolf Kahn, Alex Katz, Moise Kisling, Mikhail Larionov, Alan Magee, Daniel Massad, Henry Moore, Robert Motherwell, Jules Pascin, Ben Shahn, Everett Shinn, Raphael Soyer, Saul Steinberg, Joseph Stella, Abraham Walkowitz, Max Weber, John Whorf and Ossip Zadkine

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