Gallery News and Events

Fritz Bultman - Robert Motherwell

A remarkable tribute to Robert Motherwell and his contemporaries at the New York School has been launched at Hunter College N.Y.C. Fritz Bultman, Motherwell's close friend and best man at his wedding is a feature of the exhibition. Motherwell said of Bultman in 1987 "...I am still convinced that he (Bultman) is one of the most splendid, radiant and inspired painters of my generation and of them all, the one drastically and shockingly underrated." 

Bultman is represented in the MOMA, the Met, the Whitney and recently two Triptychs were chosen by One World Trade Center to hang in it's North Lobby. 

- Asher Edelman 

The Fritz Bultman Estate is represented by Edelman Arts Inc. For Further information contact: 

Tristan Bultman



                      Trembling Prairie III  , 1959,   Oil on Canvas,   16 x 24 in

                      Trembling Prairie III, 1959, Oil on Canvas, 16 x 24 in


(Entrance on 68th St. between Park and Lexington Ave.)

February 12-May 2, 2015
Opening Reception: Saturday, February 14, 5-7pm

Gallery Hours: Tuesdays-Saturdays, 1-6pm
Robert Motherwell recounts that in 1951, Edna Wells Luetz, the newly appointed Chair of Hunter's Department of Art, reached out to the Museum of Modern Art's founding curator, Alfred Barr, in search of "a modern artist, and one who is articulate." This marked the beginning of Hunter College's commitment to artists as teachers, and to hiring artists fully engaged in the questions of the art of their time.  Barr recommended Motherwell, and at Motherwell's urging, Luetz would bring to Hunter a number of artists associated with the New York School. The artists included in this exhibition are William Baziotes, Fritz Bultman, Richard Lippold, Ray Parker, and George Sugarman. This remarkable cohort defined the fundamental aesthetic and professional ambitions of Hunter's art department, and affirmed its commitment to creative practice. 
In addition to a selection of works by Motherwell and the artists he brought to Hunter College, the exhibition will offer a collection of archival materials to make the case for the aesthetic and intellectual remaking of Hunter's Art Department.  His syllabi and lecture notes and those of others, particularly Baziotes, whom Luetz hired on Motherwell's recommendation in 1952, document a new thrust in teaching, one that situated the problems of the modern artist at the center of a young artist's education. Among other archival materials the exhibition will include is an unpublished statement Motherwell drafted in the mid-1950s, entitled "The Aim of the Art Department at Hunter College." 
This unique exhibition documents Motherwell's role in permanently transforming Hunter's Department of Art and Art History through the dedicated modern painters and sculptors he brought to the faculty. Through the works of Motherwell and his colleagues, as well as the archival materials assembled here, the exhibition makes clear how intricately woven the history of Hunter's art department is through the story of modern art in New York.
This exhibition is organized by Howard Singerman, Phyllis and Joseph Caroff Chair, Department of Art and Art History, Hunter College with Sarah Watson, Acting Director and Curator, Hunter College Art Galleries and Annie Wischmeyer, Assistant Curator, and will be accompanied by an illustrated catalogue featuring an essay by Howard Singerman. Additional curatorial assistance has been provided by Jocelyn Spaar, Assistant to the Director, and Irini Zervas, Graduate Fellow. 
Robert Motherwell and the New York School at Hunter is made possible with the generous support of the Dedalus Foundation.

Unity Through Abstraction: One World Trade Center’s Inaugural Art Collection

Edelman Arts and Artemus would like to share an editorial on One World Trade Center's inaugural art collection featured by Artsy.

Jose Parla,   ONE: Union of the Sense  , 2014, acrylic, ink, gesso and enamel paint on wood, 174 x 1080 in.

Jose Parla, ONE: Union of the Sense, 2014, acrylic, ink, gesso and enamel paint on wood, 174 x 1080 in.

Fritz Bultman,   Gravity of Nightfall  , 1961, oil on canvas, 3 panels, 96 x 144 in.

Fritz Bultman, Gravity of Nightfall, 1961, oil on canvas, 3 panels, 96 x 144 in.


Union through Abstraction: One World Trade Center's Inaugural Art Collection

by Artsy Editorial

With all the care and expense that attended the design and 13-year construction of the prismatic One World Trade Center, it’s no surprise the art that hangs in the building—which opened late last year—would be carefully considered. Curated by New York gallery Edelman Arts to complement the building’s light-filled spaces with their high ceilings and white marble, the 13 artworks on display provide a playful and colorful counterbalance to the tower’s stately architecture.

The pieces that hang in One World Trade Center, all large-scale, abstract works, were chosen for their ability to jolt World Trade tenants out of their daily grind—as the gallery’s founder, Asher Edelman, has said, the works were selected to inspire passersby “to look up from their hand-held devices and actually look around them.”

To that effect, the centerpiece for the lobby—a mural that spans a staggering 90 feet—was created by the painter José Parlá, known for his jubilant, massive works in which paint and paper are layered to create abstract works subtly reminiscent of the wheatpastes and graffiti that pepper Brooklyn, where the artist resides. With swooping, intricate lines and splashes of kaleidoscopic color, Parlá’s painting, titledONE: Union of the Senses (2014), stands as a potent reminder of the New York that breathes outside the new tower’s walls.

The “sky lobby” on the 64th floor is an airy and tranquil space—with north-facing, wall-sized windows, it feels suspended in midair. For the space, Greg Goldberg—some of whose drawings are in the collection of the Museum of Modern Art—has created a series of site-specific oil paintings over the course of several months. Goldberg paints largely using natural light, layering stripes of intersection color and tuning them over long periods of time in order to catch the sun’s rays. These paintings have been similarly rendered to act in dialogue with their surroundings.

All the works on display at One World Trade Center, including pieces by Doug ArgueFritz Bultman, and Bryan Hunt, have been selected not only to complement the muted and classically influenced architecture at the long-awaited former site of the World Trade Center, but to express the building’s universal ethos. As Andrew Dermont, one of Edelman Arts’s curators, explained, “We were trying to put art in the building that we thought would be unifying, instead of divisive. We wanted it to accommodate everyone’s tastes.”

Molly Osberg

Fritz Bultman, Blue Triptych - Intrusion into the Blue, 1961, oil on canvas, 96 x 168 in.

Greg Goldberg,   One World Trade Center Series  , 2014, oil on linen, 66 x 72 in.

Greg Goldberg, One World Trade Center Series, 2014, oil on linen, 66 x 72 in.

Greg Goldberg,   One World Trade Center Series  , 2014, oil on linen, 66 x 72 in.

Greg Goldberg, One World Trade Center Series, 2014, oil on linen, 66 x 72 in.

Greg Goldberg,   One World Trade Center Series  , 2014, oil on linen, 66 x 72 in.

Greg Goldberg, One World Trade Center Series, 2014, oil on linen, 66 x 72 in.

Doug Argue,   Isotopic,   2009-2013, oil on canvas, 114 x 162 in.

Doug Argue, Isotopic, 2009-2013, oil on canvas, 114 x 162 in.

Doug Argue,   Randomly Placed Exact Percentages  , 2009-2013, oil on canvas, 114 x 162 in.

Doug Argue, Randomly Placed Exact Percentages, 2009-2013, oil on canvas, 114 x 162 in.

World Trade Center tower boasts large-scale, bold art

By ULA ILNYTZKY  Dec. 11, 2014 8:30 AM EST


NEW YORK (AP) — The new 1 World Trade Center opened to great fanfare last month as the first tenants moved into the 1,776-foot tower through a vast lobby dominated by a monumental abstract mural. The color-splashed, 90-by-15-foot painting is among more than a dozen works selected or commissioned for the skyscraper.

Asher Edelman, whose New York gallery curated the works, said the only criteria were that they be abstract, thought-provoking and exciting enough to get people "to look up from their hand-held devices and actually look around them."

A look at the artists and their works:



The Miami-born, Cuban-American artist is known for his vibrant, large-scale works, which can also be found at Brooklyn's Barclays Center and the Brooklyn Academy of Music. His graffiti-like mural "ONE: Union of the Senses" is his largest work to date and was created as a symbol for diversity and unity.

"With the title, I wanted to convey unity among all people," Parla said. "I wanted to use as many colors as possible. The diversity of color represents people."

Working out of his Brooklyn studio for the better part of a year on the work, Parla described how he created some of the long strokes by climbing a ladder, putting his brush to the canvas and then jumping off.



The artist fuses science and text into his large-scale paintings.

"Randomly Placed Exact Percentages" and "Isotropic," which flank the lobby's front desk, are evocative of the universe, exploring themes of science, mathematics and language, he said.

In "Isotropic," Argue incorporates computer-manipulated text appropriated from literature like "Moby Dick." The text is stretched on the canvas until it's no longer decipherable.

The paintings are "about the possibilities of new combinations" that expand "the idea of how things can change in an infinite number of possible ways," he said. "I hope people like the paintings and see something different in them every time they look at them."



"Gravity of Nightfall" and "Blue Triptych-Intrusion Into the Blue" are the only selected works not by a living artist.

The bold large-scale oil compositions fill the canvas with intense swirls of blue, red and yellow and drips of paint. They decorate the tower's north lobby.

Bultman, an American abstract expressionist who died in 1983, was a member of a group nicknamed The Irascibles alongside Jackson Pollock, Willem de Kooning and Mark Rothko. The American painter and printmaker Robert Motherwell called him "one of the most splendid, radiant and inspired painters of my generation."



Goldberg's "One World Trade Center Series" is a group of seven oil paintings on the 64th-floor sky lobby, opposite a ribbon of north-facing windows.

The New York City artist works in natural light, intensifying the color and depth of each painting over several months.

The works are divided into three groups, each dominated by interlocking streams of blue, red and yellow.

"It is my hope that the sensuality, richness and complexity of the color structure are animated by the light and the viewer," Goldberg said.



Bryan Hunt created the only sculpture commissioned for the skyscraper. The towering work consists of an elongated form balanced precariously on a smaller white spherical piece made of wood, steel and polyester fabric. The title is "Axis Mundi."

The vertical sculpture measures nearly 13 feet by 5 feet and sits on the east side of the sky lobby.


The Economist: One World Trade Center | Art fit for a skyscraper

By Ann Binlot, as published in The Economist on November 6th, 2014

STANDING 1,776 feet (541 metres) and 104 storeys tall, One World Trade Center opened its doors in Manhattan this week after 13 years of construction costing $3.9 billion. One of the many sensitive choices relating to a building conceived in difficult circumstances—it occupies a spot by the Twin Towers that collapsed after the terrorist attacks on September 11th 2001—was the selection of the art that adorns the lobby walls.

The building’s developers, the Durst Organisation, assigned the choice to Asher Edelman and his New York-based gallery, Edelman Arts. Mr Edelman, a financier, was supposedlyone of the inspirations behind the character of Gordon Gekko from the film "Wall Street". Now he's closely involved with the art world, and was chosen by the Durst Organisation on the grounds that his curatorial selections would be a "fitting compliment to the public space in the building"—surely the least one would hope for.

His team decided that any work hung in One World Trade Center should be abstract. One of them, Andrew Dermont, said: “We were trying to put art in the building that we thought would be unifying, instead of divisive. We wanted it to accommodate everyone’s tastes.” Art that accommodates "everyone's tastes" sounds like a contradiction in terms, but perhaps appropriately the works make no mention of the site’s history.

Visitors will be greeted by a huge, 90-foot mural (pictured) that the Durst Organisation says may be the largest of its kind in New York. It is the work of José Parlá, a Brooklyn-based artist who has painted murals at the Brooklyn Academy of Music and Barclays Center. Mr Parlá worked on it for about eight months in his studio and then for two weeks on site. He wants the colourful, jewel-toned piece, which is covered in his signature, graffiti-esque script and titled “ONE: Union of the Senses”, to stand as a symbol of diversity. “It was very important to me that this painting would reflect a massive respect to the situation and event and the families, and a massive respect for the site,” he said.

For elsewhere in the building, Mr Edelman and his team chose work by four other artists. In the back lobby hang two subdued canvases by the late Fritz Bultman, an abstract expressionist represented by Mr Edelman, and in the front are two by Doug Argue, a Minneosotan fond of incorporating maths and science into his art. He too was once represented by Mr Edelman. On the 64th-floor sky lobby will be seven pieces by Greg Goldberg and a sculpture by Bryan Hunt.

It is Mr Parlá’s lively mural that dominates, though. Such a colourful work was deemed suitable for the front lobby “because that’s where people come in the morning,” said Mr Edelman. Mr Bultman’s paintings on the other side are calmer, “because that’s the black limousine side”. The Durst Organisation reckons that some 20,000 people will enter the building each day and see Mr Parlá’s mural. That's not a bad audience for a piece of art: the Metropolitan Museum of Art has around 17,000 visitors a day.

“I think that the role of the art is to create life within a building,” said Mr Edelman. “It’s not just about white marble walls, it’s about spirit and life. From the building’s point of view, it’s about branding, and something that is beyond the simple walls.”

It seems optimistic to assert that these paintings will become part of the branding of a skyscraper whose very existence is loaded with such poignancy. But at the same time it is good to see a heavy emphasis on the importance of public art: visitors will soon work out if it really is to all tastes.

2Q14 Speculative Realism by Christopher Winter

We're delighted to offer a preview of recent paintings and sculpture by Christopher Winter, a continuation of his 2Q13 Speculative Realism series of 'paintings within paintings', in which he explores a galaxy of supernatural and surrealistic (and sometimes hallucinatory), parallel worlds. In these new works, Winter skillfully hyper-melds time periods, mediums and styles, and reflects on the realities of now, as if through the lens of fearless cubist from the not-so faraway future. To view more works by Christopher Winter, visit his artist's page here →.

Special Invitation to Chashama's Annual Brooklyn Open Studios

Edelman Arts has recently started working with Chashama, a foundation that nurtures artists by transforming unused real estate into studio and presentation spaces. Currently, the program offers free work space to over 85 emerging New York City based artists.

Edelman Arts is proud to support Chashama and would like to invite you to attend an open studio weekend at the Brooklyn Army Terminal on Friday, September 19th from 6 to 10 PM and on Saturday, September 20th from 3 to 9 PM.  We hope you can all join us in Brooklyn and check out these great emerging talents. For more event details and to RSVP, please see below.

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FRANK STELLA   IL DIMEZZATO (#7, 3D-3X)  1987 Paint on fabricated aluminum 88" x 95" x 53"  Private Collection

Paint on fabricated aluminum
88" x 95" x 53"
Private Collection

Douglas Durst, Asher Edelman and David Storper are pleased to present



An installation by ARTEMUS
Curated by FreedmanArt and Edelman Arts

On view September 19 to October 31, 2014
Opening Reception Thursday, September 18 from 6:30 to 8:30 pm

At Anita's Way
Through Block from West 43rd Street to West 42nd Street, between Avenue of the Americas and Broadway

This installation brings an exemplary selection of Stella’s wall reliefs in a public setting, offering a new and fresh perspective on his remarkable oeuvre. Few artists’ works transition from the private to public sphere as seamlessly and successfully as those by Frank Stella.

The opening reception will also inaugurate the founding of ARTEMUS, an art leasing company providing corporations an advantageous way to enhance their work spaces with important and inspiring works of art.

ARTIST LECTURE: Murray Moss on Tertium Quid

In conjunction with the exhibition TERTIUM QUID (on view through August 15, 2014), Murray Moss will lead a talk at Edelman Arts on Wednesday, August 13 at 6PM. This event is the final in a short series of artist lectures, so it's now or never to experience a Murray-guided walk-through of the exhibition, and listen to the design legend speak about the creative process behind his project, and the backstory, subtext and narrative of the works. It will be a revelation. You won't want to miss this last view of the photographs Vince Aletti called "found Rauschenbergs, lost Motherwells" in his review for Photograph magazine.


From the Moss Bureau blog:

When Murray talks TERTIUM QUID, people listen.
It may not be the Second Coming, but it is the second in a series of two talks about TERTIUM QUID that Murray’s going to be doing. Wednesday  August 13 at 6pm at Edelman Arts
In the beginning God created the heavens and the earth. Somewhat later Murray created TERTIUM QUID and that’s what he’s planning to talk about. For God’s sake, go. Learn something. OR, click on that little girl’s soul, I mean sole, to buy this photograph.


TERTIUM QUID  (on view through August 15th, 2014)   
GALLERY TALK with Murray Moss
Wednesday, August 13th
6pm to 7pm 



AFTERSHOCK: The Impact of Radical Art (Minors Not Permitted)

Edelman Arts presents “Aftershock: The Impact of Radical Art,” a group show featuring Carolee Schneemann, Betty Tompkins, Marilyn Minter, Thomas Lanigan Schmidt, Pruitt & Early, Sean Landers, Cary Liebowitz (a.k.a. CandyAss), Tony Oursler, Mickalene Thomas, Simone Leigh, Christopher Winter, and Monica Cook, curated Dara Schaefer. The exhibit will run from March 3 – May 12, 2014. Edelman Arts is located at 136 E 74th St, New York, NY 10021, and will host an opening reception for the artists on Monday, March 3, 2014 from 6:00pm – 8:00pm.

It has always been the job of artists to conquer territory that hitherto has been taboo.

— Norman Rosenthal, art historian

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by Edelman Arts

Fritz Bultman Retrospective at the Louisiana Arts & Sciences Museum

Edelman Arts is pleased to announce the Louisiana Arts and Sciences Museum in Baton Rouge has opened a comprehensive retrospective of the life and works of Fritz Bultman. Featuring 50 works, including a wide range of paintings, collages, and sculptures from throughout the artist's career, Fritz Bultman: An American Abstractionist  opened on October 19th and will run through January 5th, 2014.

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September Selections

Tom Wesselmann (1931 - 2004)  Monica  1985-89 Enamel on laser-cut steel 34 x 36 inches

Tom Wesselmann (1931 - 2004)
Enamel on laser-cut steel
34 x 36 inches

Edelman Arts is pleased to present a selection of highlights from our gallery by iconic artists working in a variety of materials. On view from September 16 through November 1, the exhibition includes works by David Hockney, Robert Indiana, Franz Kline, Willem de Kooning, Roberto Matta, Theodoros Stamos, Tom Wesselmann and Andy Warhol, among others. Visit the gallery Monday through Friday, 10-6, and Saturday by appointment.


Edelman Arts At Art Southampton


Join Edelman Arts at Art Southampton - Booth A18

You are cordially invited to attend the second annual edition of  Art Southampton International Contemporary and Modern Art Fair on view July 25 - 29.  

Doug Argue
Wild West
Watercolor, Gouache and Pastel on Paper
40 x 60 in.


Doug Argue 
Fritz Bultman  
Yasmine Chatila
Torkil Gudnason
Franz Kline
Paulo Laport
Cathy McClure
Will Ryman
Andy Warhol
Christopher Winter

 Click here for your printable General Admission passes for two, good for the duration of the fair. And if you are able to join us on the 25th, please reply to this email as your RSVP for VIP Access. VIP passes offer entrance to the preview reception benefiting the Southampton Hospital on Thursday, July 25th from 6 - 10PM, unlimited admission throughout the entirety of the fair, and of course exclusive access to the VIP lounge with entrance to select VIP events and after parties.  

Art Southampton is the Hamptons premier art fair and marketplace.  This renowned event is housed by an elegant, state-of-the-art 75,000 square foot Pavilion behind the Southampton Elks Lodge,  conveniently located directly off Montauk Highway. The proximity of the Pavilion provides perfect access for art lovers and collectors alike, who find the Hamptons as beautiful as the exhibitions themselves.  

The fair will feature more than 90 leading international galleries showcasing the finest works of art from the 20th and 21st centuries. In addition, Art Southampton boasts curated indoor and outdoor projects, an exclusive VIP Lounge and Café catered by the Southampton Social Club, and convenient hours to accommodate your summer schedule.

Art Southampton Pavilion
Elks Lodge
605 County Road 39
, NY 11968

Fair Hours:

VIP Preview: Thursday, July 25 | 6PM - 10PM 
General Admission:  Friday, Saturday and Sunday, July 26 - 28 | 12 - 7PM
Monday, July 29 | 12 - 5PM 

VIDEO: Artinfo Covers Fritz Bultman Exhibition

Fritz Bultman’s wide range of works from his four-decade career are rediscovered in “The Missing Irasible” at Edelman Arts. Most of these large-scale oil painting and paper collages have not been exhibited for several years. BLOUIN ARTINFO spoke with curator Asher Edelman and author Charles Riley to discover more about Bultman's artworks and the life of the elusive artist. (via Artinfo)


VIDEO: Paulo Laport Exhibition

In the video accompanying Paulo Laport's debut solo exhibition in the United States at Edelman Arts, Asher Edelman discusses Laport's life and work, recalling his enthusiasm for and dedication to painting since the early 1980's .

Edelman Arts to Represent the Estate of Fritz Bultman


Edelman Arts is pleased to announce that the Gallery will be the exclusive New York representative for the estate of the major American Abstract Expressionist painter, sculptor, and collagist Fritz Bultman.

One of the epoch-defining artists in the group known as The Irascibles, Fritz Bultman's place in art history was secured by 1950 thanks to a series of one-man exhibitions at some of the most prominent Manhattan and Provincetown galleries, as well as his inclusion in the blockbuster "Black or White" group show at the Samuel Kootz Gallery.

For four decades Bultman has been renowned for his meticulously organized abstract compositions, subtly challenging sculpture, and breakthrough expansion of the scale of collage. From the 1940s through the 1950s, Bultman's powerful deployments of oil on canvas were admired by friends and rivals including Franz Kline, Hans Hofmann (his teacher), Jackson Pollock, Robert Motherwell and Willem de Kooning. Hofmann wrote, "I consider him the most brilliant of all the many students I have had... He must be considered today the most outstanding, the most sincere and the most disciplined young artist of the entire younger generation and this in the international sense." In 1962, Bultman began to work in collage, which would be his primary medium for the next two decades. His collages incorporated pre-painted paper in semi-figurative compositions, drawing upon years of psychotherapy to explore eroticism, symbolism, and myth.

A comprehensive solo exhibition of Fritz Bultman's work will be on view at Edelman Arts from April 3 to May 11 2013. The exhibition will be accompanied by an illustrated catalogue with an essay by cultural historian Charles A. Riley II, PhD.

Fritz Bultman taught in New York at the Pratt Institute from 1950 to 1959, and at Hunter College from 1960 to 1960. In 1964-1965, he traveled to Paris with a fellowship from Fulbright.  In 1968, he served as co-founder of the Provincetown Fine Arts Work Center in Provincetown, Massachusetts. In addition, Bultman received grants from the Guggenheim Foundation and the Art Institute of Chicago.  

Bultman's work has been exhibited widely, including one-man retrospectives at the New Orleans Museum of Art, the Georgia Museum of Art, and Hunter College in New York. His work has appeared in numerous public collections, including the Solomon R. Guggenheim Museum (New York, NY), the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Smithsonian American Art Museum (Washington, DC), the Museum of Fine Arts (Boston, MA), the Provincetown Art Association and Museum (Provincetown, MA) and the New Orleans Museum of Art (New Orleans, LA). Edelman Arts has exhibited work by Bultman in the past, in "Abstraction: What Is Real" (March 2012), and in the Winter Group Show (December 2012). A monumental triptych by Fritz Bultman will be featured in the forthcoming exhibition "AB-EX RE-CON" at the Nassau County Museum of Art in Roslyn, NY from March 9-June 16, 2013.