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New Visions: Contemporary Masterworks from the Bank of America Collection

New Visions: Contemporary Masterworks from the Bank of America Collection

Mint Museum UPTOWN Oct 1 2010-Apr 17 2011   /  New Visions: Contemporary Masterworks from the Bank of America Collection presents the work of a broad range of American artists, providing extraordinary access to some of the most visionary artists of the past decades.

Exhibition Highlights

About The Exhibition

New Visions: Contemporary Masterworks from the Bank of America Collection presents the work of a broad range of American artists, providing extraordinary access to some of the most visionary artists of the past decades. Widely regarded as one of the world’s finest corporate art collections, the Bank of America Collection is noted for high quality, stylistic diversity, historical depth, and attention to regional identity. The Mint Museum has had the privilege of organizing this exhibition drawing from the wealth of the contemporary collection.

Beginning with work from 1945, the exhibition highlights strengths of Bank of America’s postwar collection and reveals a wide variety of philosophies, approaches, and movements reaching into the early 1990s. Historically significant works focus on intense color and geometry as an organizing principle, such as Frank Stella’s Damascus Gate and Ellsworth Kelly’s Black and White Triangle. These paintings reveal the monumental scale and rigorous structures of late 1960s through early 1970s Minimalism. Postminimalist works from the 1980s, such as Elizabeth Murray’s Split and Join and Jennifer Bartlett’s In the Garden present a return to imagery, while still retaining defined formalist structures. While Sam Gilliam’s Blowing pushes the boundary of conventional notions of what shape a canvas may take by removing it entirely from its supporting stretchers and altering the painted surface into new forms.

The vibrant and irreverent canvases of Ed Paschke and Roger Brown exhibit the influence of outsider art and Surrealism. This influence was a hallmark of the second generation of Chicago Imagists, a regional offshoot of Pop Artists. Images from culture and media fueled diverse works by Roy Lichtenstein, James Rosenquist, Robert Rauschenberg, and Robert Longo. Masterful paintings by some of California’s most heralded artists—including Edward Ruscha's Clock Speed, James Weeks' Ocean Park Studio, and Wayne Thiebaud's Dark Cake—demonstrate a surprising and complex relationship between abstraction and realism. Deborah Butterfield’s cast lead horse sculpture as well as Lynda Benglis’s biomorphic reliefs, and John Chamberlain’s steel assemblage, comprise some of the compelling sculptural works within the show.

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