Considering the artist as the creator of the world, Barnett Newman thought that the humans have the primal instinct to create that is reflected in both ancient and modern art. Although sharing the interest in myth and primitive unconscious with Abstract Expressionists, his enormous colored canvases with trademark “zips” moved him away from the gestural abstraction of his contemporaries. In the beginning, his work did not provoke any particular reaction, but during the time, Newman became a base for Minimalism, and second generation of Colored Field painters. Feeling that the World War II impoverished the art, he attended to bring it back to the beginning by rejecting any established approaches a mode of image-making.
Newman was born in 1905 in New York, as the son of the Jewish immigrants from Poland. During the high school, he started to take drawing lessons at the Art Students League where he met Adolph Gottlieb, who had introduced him to prominent artists and gallery owners. Newman gained his education in philosophy at City College of New York and after that decided to help his father in his clothing manufacturing business until it failed caused by the 1929 stock market crash. After the position of substitute art teacher, a creation of the short-lived magazine about worker’s rights, and marriage with the teacher Annalee Greenhouse, he decided to give up painting and study ornithology and Pre-Columbian art, occasionally organizing exhibitions and writing catalogs and art reviews. He cooperated with the gallery owner Betty Parsons who had represented Mark Rothko, Clyfford Still and Jackson Pollock, Newman’s close friends. By 1944, after the four years, he had returned to painting, now inspired by Surrealism that made him destroy all his previous work because of its figurativeness. He maintained that practice throughout the entire career, exterminating every piece that failed to please him.
A decisive moment in Newman’s career occurred in 1948 when he invented a pictorial element called a “zip”. His first painting of that kind Onement I introduced this vertical stripe of color that divided the painted surface and became a trademark of his work. The zips represented the place where the Newman invites the viewer to enter and feel the totality of separateness and individuality of their own, but also of the entire world, society or universe. It was an embodiment of physical body, as opposite to the color field that contains the raw energy of life. Constantly repeating this line, he contemplated his life within the universe and at the same time reviled the passage to the space beyond the form of the physical presence into the place of his color field. At the beginning, the color field was mottled, but during the time, the colors became pure and flat. The zips had a role to define the spatial structure, dividing and uniting the composition. Purely abstract, his paintings remained untitled, but some of them later got the names addressed on Jewish themes, like Adam and Eve, Uriel or Abraham, which was beside biblical patriarch, also the name of his father who had died two years before the painting was made. His series of black and white works, The Stations of the Cross (1958-66), helped to recover from a heart attack and its subtitle Lema sabachthani or Why have you forsaken me referred to the Jesus’ last words on the cross and was also interpreted as a memorial to the victims of the holocaust, as a part of artist’s intention to evoke the victims of humanity throughout history. Distinctive series is recognizable for its monochrome palette of black and white applied on the raw canvases, with the accent on the use of the zip. Waiting for the spontaneous urge, it took him eight years to finish the series. These paintings referred to something beyond their formal extremes, both physical and metaphysical. Painting about tragedy, reduced palette was the only way to truly express the suffering, but he succeeded to achieve the quality of color without the use of it. As Newman himself said, a painter should try to paint the impossible.
A negative response to his new works exhibited at Betty Parsons Gallery and even violent reaction of the audience, as splashing and defacing the paintings, which continued on the next few shows, resulted in the Newman’s withdrawal from the gallery scene. He devoted himself to the writing and his pieces were not seen anywhere between 1951 and 1955. In 1957 he had a heart attack and during the early 60’s, the critics started changing their opinion. In 1959 Clemet Greenberg organized his solo show at French & Company and from that occasion, Newman was considered as an important representative of the Abstract Expressionism. Expanding his work into sculpture and lithographs, his pieces became a part of few important museum exhibitions that consolidate his position within the movement. Still, many people could not understand his art and misinterpretations followed him during his whole career. He was so resigned, that he sometimes himself rejected the offers to exhibit with his contemporaries. Even after the big solo show at Guggenheim in 1966 where his Stations of the Cross were displayed, the situation was not much improved. That, fortunately, did not stop him from creating some of his most important works in the next couple years, including the series Who’s Afraid of Red, Yellow and Blue (1966-68) and monumental sculpture Broken Obelisk (1963-69).
Among his six sculptures, the Broken Obelisk also known as Black Needle is the most famous and the largest. Made of steel, it consists of two parts – converted obelisk above the pyramid, connected at a surface of only two and quarter inches. There are 4 multiples in total. One of them was placed in front of the Rothko’s Chapel in Huston in 1970, in the middle if the reflecting pool. The sculpture embodies Newman’s meditation on ancient Egypt, changing the Western association with death and instead of it producing the eternal image of transcendence.
Two paintings from a four-part series Who’s Afraid of Red, Yellow and Blue whose name was a reference to the play by Edward Albee Who’s Afraid of Virginia Woolf? have been the subject of vandalistic attacks in museums, although Newman did not have any preconceived idea of its subject or final meaning. With the aim to create something different from his previous pieces, he painted the canvas in red and realized that it works only with yellow and blue, making the confrontation with the work of Piet Mondrian.
His series of lithographs, the 18 Cantos, the only print series in color, refers to musical analogies. “Their symphonic mass lends additional clarity to each individual canto,” the artist wrote the introduction. On these paintings he was using thinner zips, not paying attention to the paint that spanned over the margins, testing the idea of spatial boundaries.
Among his peers from the New York School, Newman was the most productive writer, especially at the beginning of his artistic career. In his most famous essay The Sublime is Now published in the magazine Tiger’s Eye on December 1948, Newman discussed the work of several 20th-century European artists who, according to his opinion, destroyed the old standards of beauty. Coming from the ancient Greek ideals, he investigated the ways that contemporary philosophers reconciled these ideas with the appearance of modern styles. The final and greatest success occurred between the ideas of beauty and sublime that merged into the unique whole, creating entirely new sublime ideas about the beauty. Asserting the priority of the aesthetic over the social, he claimed that humans were artists before they were hunters, and man first built an idol of mud before he made an ax. The original question “What?” was the initiator of the prime scientific quest and the domination of science over the mind of modern man has been accomplished by ignoring this question which made advancements in the arts and science no longer possible. Newman was also very interested in ideas and discussion but claimed to never approach any painting with a plan. Focusing on immediate and particular, he created by the intuition. He believed that the main issue of painting was the subject matter that in the case of abstract art, deprived of any classical standards for making art, touching the most basic human emotions. Working with pure forms, starting from the pure idea void of symbolism or allusions, the artist is a creator of an abstract thought-complex. According to him, modern art from its beginnings had been a quest to negate the classical standards of beauty. What the Impressionist started, his generation was left to complete.
As a member of several artistic groups, schools and styles, Newman could be classified as Abstract Expressionist, but his art has also been referred to Color Field movement, Formalism, and even proto-Minimalism. His wide oeuvre was comprised of paintings, drawings, prints, sculpture and one architectural model. His earliest works have not been preserved, considering that by 1944 the artist destroyed all of his art pieces. During the late 1950’s, a group of second-generation abstract expressionists began to imitate and develop Newman’s style, aiming to remove all subjective elements including brushstrokes. Without his influence, it is quite certain that Color Field Painting would have evolved in a different way. Overshadowed by famous Jackson Pollock and even Mark Rothko, he has unfairly left aside. In 1979, the Barnett Newman Foundation was grounded to promote and help understanding and importance of his work. Barnett Newman died on July 4, 1970, of a heart attack. Misinterpreted and unappreciated during his life, he is now considered as one of the crucial persons of the Abstract Expressionism. Not focusing on the non-representational meaning of shapes and colors, his approach was more philosophical, inviting the viewer to experience the painting both physically and physical.
Featured image: Barnett Newman – Artist portrait, Image via pinterest.com
Years | Exhibition title | Gallery/Museum | Group/Solo |
---|---|---|---|
2016 | Life Itself | Moderna Museet, Stockholm | Group |
2015 | Narrativas monumentales. Figuras, paisajes y rituales | Museo de Arte Contemporáneo Gas Natural Fenosa (MAC) | Group |
2015 | America Is Hard to See | Whitney Museum of American Art, New York City, NY | Group |
2015 | Fuego blanco, La colección moderna del Kunstmuseum Basel | Museo Nacional Centro de Arte Reina Sofía, Madrid | Group |
2015 | Geometries On And Off The Grid: Art From 1950 To The Present | The Warehouse, Dallas, TX | Group |
2015 | Barnett Newman: The Late Work | The Menil Collection, Houston, TX | Solo |
2014 | Line: Making the Mark | Museum of Fine Arts Houston, Houston, TX | Group |
2014 | The Irascibles | Munson Williams Proctor Arts Institute, Utica, NY | Group |
2014 | Experiments with Truth: Gandhi and Images of Nonviolence | The Menil Collection, Houston, TX | Group |
2014 | Formes simples | Centre Pompidou, Metz, Metz | Group |
2014 | Barnett Newman: The Late Work | The Menil Collection, Houston, TX | Solo |
2013 | Ausweitung der Kampfzone. Die Sammlung. 1968to2000 | Neue Nationalgalerie, Berlin | Group |
2013 | Pollock e gli Irascibili, La scuola di New York | Palazzo Reale, Milan | Group |
2013 | Piet Mondrian, Barnett Newman, Dan Flavin | Kunstmuseum Basel, Basel | Group |
2013 | Adventures of truth, Painting and philosophy | Fondation Maeght, Saint Paul | Group |
2013 | Byzantine Things in the World | The Menil Collection, Houston, TX | Group |
2013 | Untitled Etching #1 | Robert Bills Contemporary, Chicago, IL | Solo |
2012 | The Geometric Unconscious: A Century of Abstraction | Sheldon Museum of Art, Lincoln, NE | Group |
2012 | To the Museum of Modern Dreams | Staatsgalerie Stuttgart, Stuttgart | Group |
2012 | Mythology and the Origins of Abstraction | The Pace Gallery, 32 East 57th Street, New York City, NY | Group |
2012 | Ulae Universal Limited Art Editions | Greg Kucera Gallery, Seattle, WA | Group |
2012 | In The Tower: Barnett Newman | The National Gallery of Art, Washington, DC | Solo |
2011 | Die Kunst der Entschleunigung, Bewegung und Ruhe in der modernen Kunst | Kunstmuseum Wolfsburg, Wolfsburg | Group |
2011 | Abstract Expressionist New York | Art Gallery of Ontario, Toronto, ON | Group |
2011 | Obras maestras de la pintura en la Colección del IVAM. Pasado, presente y futuro | Institut Valencià d'Art Modern, Valencia | Group |
2011 | Abstract Now and Then | Berkeley Art Museum and Pacific Film Archive BAM PFA, Berkeley, CA | Group |
2011 | Barnett Newman | Craig F. Starr Gallery, New York City, NY | Solo |
2010 | Das Geistige in der Kunst, Vom Blauen Reiter zum Abstrakten Expressionismus | Museum Wiesbaden, Wiesbaden | Group |
2010 | Abstract Expressionist New York | Museum of Modern Art, New York City, NY | Group |
2010 | Side by Side: Oberlin's Masterworks at the Phillips | The Phillips Collection, Washington, DC | Group |
2010 | Vertical Thoughts: Morton Feldman and the Visual Arts | Irish Museum of Modern Art, IMMA,Dublin | Group |
2010 | Collecting Biennials | Whitney Museum of American Art, New York City, NY | Group |
2010 | Barnett Newman: Dialogue between Man and Work | Kawamura Memorial Museum of Art,Sakura, Chiba | Solo |
2009 | Illustre Gäste, Amerikanische Kunst 1950 bis 1970 aus der Sammlung des Museum Folkwang im Josef Albers Museum | Josef Albers Museum, Bottrop | Group |
2009 | MOCA´s First Thirty Years | MOCA Grand Avenue, Los Angeles, CA | Group |
2009 | Choices VI | Galerie Rigassi, Bern | Group |
2009 | Warhol Wool Newman, Painting Real | Kunsthaus Graz, Graz | Group |
2009 | Bilderträume. Die Sammlung Ulla und Heiner Pietzsch | Neue Nationalgalerie, Berlin | Group |
2009 | Visiones de Confin | Institut Valencià d'Art Modern, Valencia | Group |
2009 | Playing This Litho Instrument: The Prints of Barnett Newman | Craig F. Starr Gallery, New York City, NY | Solo |
2008 | Modernism and the Wichner Collection | Long Beach Museum of Art, Long Beach, CA | Group |
2008 | Action Abstraction | Saint Louis Art Museum, Saint Louis, MO | Group |
2008 | 1968: Art and Politics in Chicago | DePaul Art Museum, Chicago, IL | Solo |
2008 | Barnett Newman Drawings 1944 to 1946 | Craig F. Starr Gallery, New York City, NY | Solo |
2007 | Die aufregende Kunst des 20. Jahrhunderts | Neue Nationalgalerie, Berlin | Group |
2007 | La Abstraction del Paisaje | Fundación Juan March, Madrid | Group |
2007 | Declaring Space | The Modern Art Museum of Fort Worth, Fort Worth, TX | Group |
2006 | Collection Highlights | Kawamura Memorial Museum of Art, Sakura, Chiba | Group |
2006 | Van Eelen Collection | Kröller Müller Museum, Otterlo | Group |
2005 | Mäzene der Kunst auf Papier | Staatsgalerie Stuttgart, Stuttgart | Group |
2005 | Entdecken und Besitzen | Museum Moderner Kunst Stiftung Ludwig , Vienna | Group |
2005 | Standing Exhibition | Kamakura Gallery, Kanagawa | Group |
2005 | Barnett Newman: Drawing Declares the Space | Craig F. Starr Gallery, New York City, NY | Solo |
2004 | Gegenwelten | Neue Nationalgalerie, Berlin | Group |
2004 | Beyond Geometry | Experiments in Form 1940s to 70s, Miami Art Museum, Miami, FL | Group |
2004 | Blue | Kamakura Gallery, Kanagawa | Group |
2004 | Shanghai Art Museum: Encounters with Modernism | Stedelijk Museum CS, Amsterdam | Group |
2003 | Aaron Siskind and others | Andrea Rosen Gallery, New York City, NY | Group |
2003 | Berlin Moskau Moskau Berlin 1950 to 2000 | Neue Nationalgalerie, Berlin | Group |
2003 | Das Recht des Bildes | Kunstmuseum Bochum, Bochum | Group |
2003 | In Pursuit of the Absolute | The Menil Collection, Houston, TX | Group |
2003 | Barnett Newman: Cantos | Staatsgalerie Stuttgart, Stuttgart | Solo |
2002 | Rechteckakzeptanz | Galerie Schafschetzy, Graz | Group |
2002 | La Culture Pour Vivre | Centre Pompidou, Musée National d´Art Moderne, Paris | Group |
2002 | The Physical World, An Exhibition Of Painting And Sculpture | Gagosian Gallery , New York City, NY | Group |
2002 | Claude Monet, ...bis zum digitalen Impressionismus | Fondation Beyeler, Riehen | Group |
2002 | Barnett Newman | Tate Modern, London | Solo |
2002 | Barnett Newman | Philadelphia Museum of Art, Philadelphia, PA | Solo |
2001 | Claude Monet und die Moderne | Kunsthalle der Hypo Kulturstiftung, Munich | Group |
2001 | Letters, Signs & Symbols, Paintings, Sculpture and Works on Paper | Brooke Alexander Editions, New York City, NY | Group |
2001 | Vital forms, American Art in the anatomic age, 1940 ,to 1960 | Brooklyn Museum of Art, New York City, NY | Group |
2001 | Bilderschatz, The Best of Kunsthaus | Kunsthaus Zürich, Zurich | Group |
2001 | Minimalismos. Un signo de los tiempos | Museo Nacional Centro de Arte Reina Sofía, Madrid | Group |
2001 | Ornament und Abstraktion | Fondation Beyeler, Riehen | Group |
2001 | Barnett Newman, Cathedra | Stedelijk Museum CS, Amsterdam | Solo |
2000 | Drawing is Another kind of Language | Mary & Leigh Block Museum of Art, Evanston, IL | Group |
2000 | USF Collects | University of South Florida Contemporary Art Museum, Tampa, FL | Group |
2000 | Expresionismo Abstracto | Fundación Juan March, Madrid | Group |
2000 | Works on Paper | Simon C Dickinson Ltd, London | Group |
2000 | Barnett Newman, Notes 1968 | The Chinati Foundation, Marfa, TX | Solo |
1999 | Surrealistas en el exilio y los inicios de la Escuela de Nueva York | Museo Nacional Centro de Arte Reina Sofía, Madrid | Group |
1999 | Barnett Newman - The Complete Editions, Jasper Johns References to Barnett Newman | Brooke Alexander Editions, New York City, NY | Group |
1999 | Drawn from Artists' Collections | The Drawing Center, New York City, NY | Group |
1999 | Barnett Newman, Notes 1968 | The Chinati Foundation, Marfa, TX | Solo |
1998 | KölnSkulptur 1 | Skulpturenpark Köln, Cologne | Group |
1998 | The New York School | Museum of Modern Art, New York City, NY | Group |
1998 | Exhibition of the century | Wellington City Gallery, Wellington | Group |
1998 | The New York School | Gagosian Gallery , New York City, NY | Group |
1997 | Etchings of the Twentieth Century | Margo Leavin Gallery, Los Angeles, CA | Group |
1997 | Birth Of The Cool, Amerikanische Malerei Von Georgia O’Keeffe Bis Christopher Wool | Deichtorhallen Hamburg, Hamburg | Group |
1997 | Barnett Newman | K20 Grabbeplatz, Dusseldorf | Solo |
1997 | Barnett Newman, die Druckgraphik | Albertina, Vienna | Solo |
1996 | Amerikanische Druckgrafik 1960 bis 1990 | Städel Museum, Frankfurt | Group |
1996 | Moderna Museet Stockholm zu Gast in Bonn Die großen Sammlungen IV | Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn | Group |
1996 | Barnett Newman, die Druckgraphik | Kunstmuseum Bern, Bern | Solo |
1996 | Barnett Newman: Prints 1961 to 1969 | Camden Arts Centre, London | Solo |
1996 | Barnett Newman, die Druckgraphik | Staatsgalerie Stuttgart, Stuttgart | Solo |
1994 | Konzeptionelle Druckgraphik | Städel Museum, Frankfurt | Group |
1994 | Newman, Rothko, Still: Search for the Sublime | L&M Arts, New York, New York City, NY | Group |
1994 | The Sublime Is Now: The Early Works of Barnett Newman | Saint Louis Art Museum, Saint Louis, MO | Solo |
1993 | In a classical vein : works from the permanent collection | Whitney Museum of American Art,New York City, NY | Group |
1993 | Works on Paper | Anthony d'Offay Gallery, London | Group |
1993 | Azur | Fondation Cartier pour l'art contemporain, Paris | Group |
1993 | Brice Marden, Barnett Newman, Robert Ryman | Akira Ikeda, Nagoya, Nagoya | Group |
1992 | Contemporary Art from the Marcia Simon Weisman Collection | The Menil Collection, Houston, TX | Group |
1991 | Art of the Forties | MoMA, Museum of Modern Art, New York City, NY | Group |
1991 | Barnett Newman: 18 Cantos | MOCA Grand Avenue, Los Angeles, CA | Solo |
1991 | Barnett Newman: 18 cantos | Bündner Kunstmuseum Chur, Chur | Solo |
1988 | Zwischen Schwarz & Weiss | Neuer Berliner Kunstverein, Berlin | Group |
1988 | Un siglo de escultura moderna: La colección de Patsy y Raymond Nasher | Museo Nacional Centro de Arte Reina Sofía, Madrid | Group |
1988 | American print renaissance 1958 to 1988 | Whitney Museum of American Art, Fairfield County,Stamford, CT | Group |
1988 | Barnett Newman: 18 Cantos | MOCA Grand Avenue, Los Angeles, CA | Solo |
1987 | A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection | The National Gallery of Art, Washington, DC | Group |
1987 | Radierungen im 20. Jahrhundert | Staatsgalerie Stuttgart, Stuttgart | Group |
1987 | A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection | Dallas Museum of Art, Dallas, TX | Group |
1987 | Barnett Newman. Samlade verk på papper | Moderna Museet, Stockholm | Solo |
1986 | Individuals : A Selected History of Contemporary Art, 1945 to 1986 | MOCA Grand Avenue, Los Angeles, CA | Group |
1986 | Barnett Newman, Das druckgraphische Werk | Städtisches Museum Abteiberg,Mönchengladbach | Solo |
1986 | Prints of Barnett Newman | The University of Chicago, Chicago, IL | Solo |
1985 | Transformations in sculpture. four decades of American and European art | Solomon R. Guggenheim Museum, New York City, NY | Group |
1985 | RAUM ZEIT STILLE | Kölnischer Kunstverein, Cologne | Group |
1984 | Eccentric Images | Margo Leavin Gallery, Los Angeles, CA | Group |
1984 | Creation, Modern Art And Nature | Scottish National Gallery of Modern Art, Edinburgh, Scotland | Group |
1981 | Black and White | Riko Mizuno Gallery, Los Angeles, CA | Group |
1981 | Barnett Newman, das zeichnerische Werk | Museum Ludwig, Cologne | Solo |
1980 | Barnett Newman | Centre Pompidou, Musée National d´Art Moderne, Paris | Solo |
1980 | Barnett Newman: the complete drawings 1944 to 1969 | The Baltimore Museum of Art, Baltimore, MD | Solo |
1979 | Abstract Expressionism: A Tribute to Harold Rosenberg | The University of Chicago, Chicago, IL | Group |
1979 | Printed Matters, Barnett Newman: 18 Cantos | Gatodo Gallery, Tokyo | Solo |
1978 | La Biennale di Venezia 1978. From Nature to Art, from Art to Nature | La Biennale di Venezia,Venice | Group |
1978 | American Art at Mid Century: The Subjects of the Artist | The National Gallery of Art,Washington, DC | Group |
1978 | Barnett Newman | University Art Museum, Santa Barbara, CA | Solo |
1977 | Arte USA | Fundación Joan Miró, Barcelona | Group |
1977 | Arte USA | Fundación Juan March, Madrid | Group |
1976 | Acquisition Priorities: Aspects of Postwar Painting in America | Solomon R. Guggenheim Museum, New York City, NY | Group |
1976 | The Natural Paradise: Painting in America 1800 to 1950 | MoMA, Museum of Modern Art, New York City, NY | Group |
1976 | New York in Europa | Neue Nationalgalerie, Berlin | Group |
1976 | Twentieth-century American drawing: three avant-garde generations | Kunsthalle Bremen,Bremen | Group |
1972 | Universal Limited Art Editions, Collectors Items | Ronald Feldman Fine Arts Inc, New York City, NY | Group |
1972 | Scuola di New York | Galleria Morone, Milan | Group |
1972 | Barnett Newman | Stedelijk Museum CS, Amsterdam | Solo |
1971 | Barnett Newman | Museum of Modern Art, New York City, NY | Solo |
1970 | Dan Flavin, Untitled (to Barnett Newman) | Leo Castelli Gallery, New York City, NY | Group |
1970 | Monumental Art | Cincinnati Contemporary Arts Center, Cincinnati, OH | Group |
1970 | The Sidney and Harriet Janis Collection | Institute of Contemporary Arts, London | Group |
1970 | Prints by Nine New York Painters | Cincinnati Contemporary Arts Center, Cincinnati, OH | Group |
1970 | Barnett Newman Memorial | Norton Simon Museum of Art, Pasadena, CA | Solo |
1970 | Barnett Newman Memorial 1905 to 1970 | Museum of Modern Art, New York City, NY | Solo |
1968 | documenta 4 | Documenta, Kassel | Group |
1968 | Dada, Surrealism and their Heritage | Museum of Modern Art, New York City, NY | Group |
1967 | 1967 Annual Exhibition of Contemporary American Painting | Whitney Museum of American Art,New York City, NY | Group |
1965 | The Inner and Outer Space, An Exhibition Devoted to Universal Art | Moderna Museet,Stockholm | Group |
1965 | New York School: The First Generation, Paintings of the 1940s and 1950s | Los Angeles County Museum of Art | Group |
1964 | Guggenheim International Award 1964 | Haus am Lützowplatz, Berlin | Group |
1964 | American Painters as New Lithographers | Museum of Modern Art, New York City, NY | Group |
1964 | American Paintings and Sculpture 67th Annual | The Art Institute of Chicago, Chicago, IL | Group |
1963 | Annual exhibition 1963, Contemporary American painting | Whitney Museum of American Art,New York City, NY | Group |
1962 | Willem de Kooning & Barnett Newman | Allan Stone Gallery, New York City, NY | Group |
1961 | The Ben Heller Collection of Paintings of the School of New York | The Art Institute of Chicago,Chicago, IL | Group |
1959 | documenta 2 | Documenta, Kassel | Group |
1959 | The New American Painting | Tate Britain, London | Group |
1958 | The New American Painting, BOZAR | Palais des Beaux Arts, Paleis voor Schone Kunsten,Brussels | Group |
1958 | The New American Painting | Stedelijk Museum CS, Amsterdam | Group |
1958 | The New American Painting | Kunsthalle Basel, Basel | Group |
1955 | Ten Years | Betty Parsons Gallery, New York City, NY | Group |
1951 | Barnett Newman | Betty Parsons Gallery, New York City, NY | Solo |
1950 | Barnett Newman | Betty Parsons Gallery, New York City, NY | Solo |
1947 | Abstract and Surrealist American Art: Fifty Eighth Annual Exhibition of American Paintings and Sculpture | The Art Institute of Chicago, Chicago, IL | Group |
1947 | The Ideographic Picture | Betty Parsons Gallery, New York City, NY | Group |