Joseph Glasco T H E D AV I D C H E S L E R C O L L E C T I O N
In Loving memory of my great friend Joseph Milton Glasco Astonishing Isabella Maria Basile; My dear sweet brother Jonathan Marc Chesler; Lewis Chesler, mia babbino caro; And gratefully to the late Stanley J. Seeger David Chesler
Joseph Glasco
T H E D AV I D C H E S L E R C O L L E C T I O N
November 2016 13010 Larchmere Boulevard Cleveland, Ohio 44120 wolfsgaller y.com 1
I think we met over a bottle of Chanel #5 in 1968 and took to each other like two cannibals eating a dead clown; it was hilarious and I was in awe. Suddenly everything in the world was visible. I was seeing an artist at work, and work my dear Joe did, like no one I have ever seen. Selling art was paying the rent and eating and everything else. Our entertainment was Maria Callas screaming at the top of her lungs. We were hooked on “La Divina,” which went on for years until this day. The pictures in this collection represent a figurative beginning and ending in the beauty of shapes and colors. Joe loved famous and talented people. One day on Greene Street I was told his friend Glenda Jackson and Christopher Miles were coming over for lunch and we had to go to Dean and Deluca. I made Scotch Eggs. They licked their plates. Meeting Mia Farrow in Ian McKellan’s dressing room gave me a headache, but we didn’t go home! Joe loved opera singers and was in constant contact with Teresa Stratas and Elaine Stritch, not known for her “Casta Diva.” In the 70’s Joe pivoted from figures to contrasting collage, always some form of space in a piece without showing distance; the spatial effects are there, but can’t be measured. Finally, the concept of any piece by Joe Glasco seems to be a glimpse into a private paradise visible only to the cunning eye. Further interest in the work of Joe Glasco is beautifully available in Michael Raeburn’s stunning biography “Joseph Glasco—The Fifteenth American.”
Love, David Chesler
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Joseph Glasco
T H E D AV I D C H E S L E R C O L L E C T I O N Wolfs Art Dealers and Appraisers | November17, 2016
In 1950 the Museum of Modern Art, New York purchased a drawing by Joseph Glasco which had been a part of a one man exhibit of his work at Perls Gallery in New York city. With this purchase Joseph Glasco became the youngest artist to have a work in the permanent collection of the museum. He had only arrived in New York one year earlier, in 1949. With works subsequently acquired by other major museums including the Metropolitan, the Guggenheim, the Whitney, the Hirshhorn and the Houston MFA among others, this was a very auspicious beginning for a young artist at the beginning of the modern movement. From the beginning Glasco was considered an important part of this movement and was an integral part of the scene. The work of Joseph Glasco now deserves a long revisit. Glasco’s career began at the very center of the new art world in New York in 1949, where he was a peripatetic collector of friends. His intimate circle included Jackson Pollock, Alfonso Ossorio, Clyfford Still and Jean Dubuffet among others. Pollock though, was, for Glasco, the most influential. During these early years as the young Glasco developed his personal style, he spent time with Pollock and Lee Krasner at their estate in East Hampton, which happened to coincide with the two years of Pollock’s sobriety between 19491951. Glasco respected Pollock and the straightforward manner and in which he communicated. As he stated in an interview done in 1995, “I learned an awful lot, and awfully quickly, from this brilliant man who spoke very, very simply.” In addition, Glasco was a very quick learner, and immersed himself in the New York museums, admiring 13th and 14thc. Italian artists, Ingres, Matisse and ancient Greece, with its myths and heroes. From the many nightly discussions within this circle of artists, which often included art critic Clement Greenberg, Jackson Pollock’s major supporter, Glasco absorbed specific ideas about the the process of painting which he would carry with him throughout his career. While he greatly admired Pollock’s work, he was determined not to work in that style, but to find his own individual manner, and to do this he applied a self-mandated discipline. Glasco’s work was therefore characterized by restrictiveness, rather than the freedom he thought Pollock must have felt when making a painting. Physically, Glasco worked in painstaking detail, using a single small brush and a laborious building up of surface texture. Always a traveller after his time in the army in 1943, Glasco lived his life in various places. These travels kept him often outside of New York after 1952 and aided in the development of his work. Time spent in Mexico, Taos, Italy, Greece, Cleveland and Galveston, with brief touchdowns in New York allowed him to create and maintain his own idiom. His studio environment reflected 4
this. Wherever Glasco’s studio was, it was organized in the same way, with a canvas covered floor, white walls, and heavy velvet curtains blocking out the light and the world, allowing him to paint what was inside of him. An early epiphany while studying at The Art Students League in New York seemed to solidify his thought process in regards to his work, as he wrote, “ I made a startling discovery . . . .it occurred to me one day as I was drawing that you really don’t have to look up at something and then try to repeat it on paper. That I could look over at a figure and back to the paper and record what I had remembered. I explored and found the surface of the paper and from then on it was a question of making the paper turn on, not the figure.” And as quoted in his artist’s statement for the exhibition Fifteen Americans, held at The Museum of Modern Art in 1952, “Painting for me does not consist in something I have seen, but something I am. There is no “subject matter.’ My heads are perhaps landscapes and my landscapes heads. They are interior thoughts that exist in my heart and mind and not in my eyes.” The David Chesler Collection consists largely of Glasco’s work during the period of the 1970’s when the two were together frequently and for longer periods of time. The works of this period are characterized by a monumentality of form, a complexity of surface and an intense focus on detail. While expressionist in form and figurative in style, each work is masterful in its control of the medium and the composition. Upon close inspection the very deliberate stokes of the ink loaded brush and the amazingly controlled splatters give each work an intense life, but upon viewing from further away, also a classical stillness. Under inspection and careful scrutiny it is becomes clear to the viewer that these works incorporate an enormous amount of minute detail and an incredible control of the surface. This was accomplished by that strict discipline and work ethic, consciously employed by the artist from his earliest work and as relayed by David Chesler, who stated that Glasco would paint and work, then sit and study and paint and work for hours on end on each piece. The monumental heads, kissing figures, classical style reclining nudes, studio posed figures and still lifes are all a part of Glasco’s unique oeuvre; they are striking; arresting, and convey a timelessness and a beauty of their own. As critic Hilton Kramer commented in a review of a Glasco exhibit in 1970, “ Titles. . .give us a clue to the nature of his pictorial imagination. ‘Judgment of Paris,’ ‘Orestes,’ ‘Three Graces,’ ‘Death of Ariadne,’ ‘Narcissus,’ –such titles alert us to a pictorial sensibility immersed in the realm of mythic images. . . .and each of his pictures therefore has the quality of a discrete poetic conception. Each has a wonderful resonance as well as a compelling visual presence.” We are happy to be able to exhibit this wonderful collection and to see again an artist who not only created beautiful works of art, but also is a part of the art history of 20thc. America.
– Bridget McWilliams
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Seated Figure Pen and ink Signed and dated 1950 24 x 19 inches
Seated Figure. The earliest work in the Chesler collection, Seated Figure, 1950, is an example of Glasco’s early style, and similar in style to Big Sitting Cat, 1949, which was the piece purchased by the Museum of Modern Art (MoMA), New York in 1950. Pl.24 in Joseph Glasco:Fifteenth American , by Michael Raeburn, London, Cacklegoose Press, 2015.
2. Portrait of a Young Lady Plaster, 1956 14.5 h. inches Portrait of a Young Lady is the original plaster for the bronze sculpture, one of which was purchased by Joseph H.Hirshhorn, and resides in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
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The City Oil on canvas Signed and dated ‘63 lower left 60 x 36.25 inches
Ex. Collection: The Sara Lee Corporation The City, painted in 1963, is a synthesis of synthetic cubism, surrealism and Glasco’s own style with his use of a labor intensive patterned ground. In this painting we see the use of the outlined domed shape which denotes a human figure or head. In the upper left, two domed head shapes appear to lie next to each other, covered by a blanket shaped textured block. This possibly relates to and is an abstraction of an earlier work entitled “Sleepers, “ from 1949.
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4. Couple Acrylic on canvas Initialed J.G. and dated ‘68, lower left 25 x 30 inches 5. Standing Nude Ink on paper 39 x 29 inches
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6. Two Heads Ink on foam core 45 x 39.5 inches
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7. Ariadne on Naxos Ink on paper 50.5 x 92.5 inches
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8. Ariadne Ink on foam core Signed and dated ‘70, lower right 47.5 x 96.5 inches
Ariadne. Glasco’s subject matter often incorporated biblical and mythological themes. In the myth of Ariadne, the goddess assisted the Athenian hero Theseus in the slaying of the Minotaur. They then traveled to the island of Naxos, where Ariadne fell asleep and woke to find her lover Theseus rowing away in a boat. As Glasco was a lover of opera, his use of the subject of Ariadne may have been inspired by the Wagner opera, ‘Ariadne auf Naxos.’
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Three Heads Ink on foam core signed and dated ‘70 lower right 59 x 47 inches
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10. Seated Nude Ink on artist board Signed and dated 30 x 20 inches
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< 11. Portrait of David Ink on paper with glazing Signed and dated ‘70 lower right 40 x 26 inches 12. Seated Nude Colored ink on paper with glazing 30.5 x 23 inches
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< 13. Two Standing Nudes Signed and dated ‘72 lower right 48 x 22 inches 14. Two Heads Acrylic on paper 14 x 11.5 inches 15. Reclining Boys Acrylic on paper 19 x 25 inches
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16. Narcissus Colored and metallic inks on paper 23.5 x 37 inches
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17. Reclining Figure I Signed and dated ‘70 18 x 24 inches 18. Reclining Figure II Signed and dated ‘70 18 x 24 inches 19. Reclining Figure III 18 x 24 inches
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20. Abstract Acrylic on paper 21.5 x 29.5 inches 21. Portrait of Rosemary Oil pastel on canvas Signed and dated ‘70, lower right 45 x 39 inches > 22. Two Heads Ink on paper 37.5 x 27.5 inches
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23. Narcissus Enamel on Strathmore board Signed lower right 39.5 x 59.5 inches
Narcissus. The myth of Narcissus and Echo, from Ovid, is the story of an impossibly beautiful young man who cruelly rejects the affections of a nymph, Echo, because he has seen his reflection in a pool and has fallen in love with his own image. Heartbroken Echo wastes away, leaving only her voice. In this image we see Narcissus gazing into the pool, and on the bank the simplified images of a mirror, a small vase and two flowers, and a comb inscribed ‘Echo.’ This subject, also portrayed in catalog no.16, likely had importance to Glasco as a homosexual theme, in the rejection of the female. The images of the mirror and the comb appear frequently in Glasco’s work.
> 24. Two Heads Ink on paper Signed and dated ‘70/’71 25 x 19.5 inches
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< 25. Standing Man, Hero Acrylic and oil pastel on paper Signed and dated ‘72 lower right 31 x 23 inches
26. Rock Lady, Janis Joplin Ink on paper Signed and dated ‘72, inscribed, lower right 17 x 14 inches 27. Liz Ink on paper Signed and dated ‘73 21.5 x 30 inches
Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum
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28. Lilith Pastel on paper 40 x 26 inches 29. Lilith Pastel on cardboard with glazes Signed and dated ‘73 lower left 59.5 x 39.5 inches
Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum
> 30. The Studio Pastel on paper with glazes signed and dated ‘73 60 x 40 inches
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Exhibited: Joseph Glasco 1948-1986 A Sesquicentennial Exhibition, April-June 1986, Houston, Contemporary Arts Museum
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< 31. Two Figures Acrylic on board Signed and dated ‘73 lower center 59 x 39 inches 32. Portrait of Duke Acrylic and mixed media on paper 41 x 29 inches
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33. Backstage at the Fillmore East Acrylic on paper Signed and dated ‘73 lower right 19 x 25 inches
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34. Reclining Nude Ink and acrylic on paper Signed and dated ‘73 lower right 18.5 x 24.5 inches
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35. Horse Ink on paper Signed and dated ‘73 18.5 x 24 inches
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36. Lanzarote Landscape Colored ink on paper Signed and Dated ‘73 lower right 22 x 30 inches
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37. Adam and Eve Ink Signed and dated ‘73 lower right 23.5 x 17.5 inches
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38. Figure Acrylic on paper Signed and dated ‘73 lower right 40 x 26 inches
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39. Standing Nude Ink on paper Signed and dated ‘73 lower right 30 x 22 inches
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40. Standing Nude Ink on paper Signed and dated ‘73 lower right 29 x 21.5 inches
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41. Figures Kissing Ink on paper Signed and dated ‘74 lower right 34 x 28 inches 42. Two Heads Ink on paper Signed and dated ‘74 lower right 33.5 x 28 inches
> 43. Standing Nude Ink on paper Signed and dated ‘74 lower right 39.5 x 25.5 inches
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44. Tree Pen and ink 20 x 24 inches 45. Still Life, Plant Ink on paper Signed and dated ‘75 lower right 40 x 30 inches
46. Sue at Rest Ink on paper Signed and dated ‘75 lower right 34 x 27 inches 47. Still Life, Plant on Table Ink on paper signed and dated ‘75 59 x 47 inches
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< 48. Seated Nude Ink on paper Signed and dated ‘75 lower right 33 x 27.5 inches < 49. Reclining Nude Ink on paper Signed and dated ‘76 lower right 25.5 x 39.5 inches
50. Figure Etching Signed in pencil and dated ‘76, titled, numbered 6/12 21 x 17 inches 51. Conversation Etching Signed and dated ‘76 lower right Titled, numbered A/P 19.5 x 24 inches
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52. Reclining Figure Pen on ink Signed and dated ‘76 lower right 19 x 25 inches 53. Island Memories Colored ink on paper Signed and dated ‘76 lower right, inscribed 20.5 x 29 inches 54. Plant on Stand Graphite on paper Signed and dated ‘78 lower right 23 x 18 inches
> 55. Big Diamond Acrylic collage on canvas Initialed J.G. verso 102 x 102 inches
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Joseph Glasco
T H E D AV I D C H E S L E R C O L L E C T I O N
MUSEUM COLLECTIONS Albright-Knox Art Gallery, Buffalo, New York
SOLO EXHIBITIONS 2015
Joseph Glasco: The Fifteenth American, Waddington Custot Galleries, London
2012
Joseph Glasco: Paintings from the Estate, Talley Dunn Gallery, Dallas, Texas
Corcoran Gallery of Art, Washington, D.C.
1996
Joseph Glasco: A Celebration, Barry Whistler Gallery, traveled to the Center for Research in Contemporary Art, University of Texas at Arlington, Arlington, Texas
Detroit Institute of Arts, Detroit, Michigan
Moody Gallery, Houston, Texas
1993
Meredith Long & Company, Houston, Texas
1990
New Work: Joseph Glasco, Museum of Art, University of Oklahoma, Norman, Oklahoma
1989
Waddington Galleries, London, England
The Metropolitan Museum of Art, New York, New York
1986
Joseph Clasco 1948-1986: A Sesquicentennial Exhibition, Contemporary Art Museum, Houston, Texas
Museum of Fine Arts, Houston
Meredith Long & Company, Houston, Texas
The Museum of Modern Art, New York, New York
Gimpel + Weitzenhoffer Gallery, New York, New York
The Newark Museum, Newark, New Jersey
1983
Joseph Glasco: Recent Paintings, Gimpel + Weitzenhoffer Gallery, New York, New York
The Solomon R. Guggenheim Museum, New York, New York
1979
Joseph Glasco, Gimpel + Weitzenhoffer Gallery, New York, New York
Whitney Museum of American Art, New York, New York
1976
Joseph Glasco: Recent Works, Arnold Gallery, Inc., Atlanta, Georgia
Yale University Art Gallery, New Haven
1975
Louisiana Gallery, Houston, Texas
1973
Louisiana Gallery, Houston, Texas
1970
Exhibition of Paintings, Pastels, and Drawings, Catherine Viviano Gallery, New York, New York
1968
Kiko Gallery, Houston, Texas
1967
Rizzoli Gallery, New York, New York
Catherine Viviano Gallery, New York, New York
1965
Exhibition of Paintings and Drawings, Catherine Viviano Gallery, New York, New York
Museum of Art, University of Oklahoma, Norman, Oklahoma
1963
Exhibition of Paintings and Objects, Catherine Viviano Gallery, New York, New York
The Art Museum, Princeton University, Princeton, New Jersey The Brooklyn Museum, Brooklyn, New York
The High Museum of Art, Atlanta, Georgia Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
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1961
Exhibition of Paintings and Sculpture, Catherine Viviano Gallery, New York, New York
1958
Catherine Viviano Gallery, New York, New York
1957
Arts Club of Chicago, Chicago, Illinois
1956
Exhibitions of Paintings, Sculpture, Drawings, Catherine Viviano Gallery, New York, New York
1954
Exhibition of Drawings, Catherine Viviano Gallery, New York, New York
Arts Club of Chicago, Chicago, Illinois
1953
Exhibition of Paintings, Sculpture, Drawings, Catherine Viviano Gallery, New York, New York
1952
Glasco, Catherine Viviano Gallery, New York, New York
1951
Exhibition of Paintings, Colored Ink Drawings, Catherine Viviano Gallery, New York, New York
1950
Perls Gallery, New York, New York
GROUP EXHIBITIONS 2015
Texas Modernists, The Grace Museum, Abilene, TX
Texas Artists, Meredith Long & Company, Houston, TX
2014
Selections from the Estate of Sonny Burt and Bob Butler, Talley Dunn Gallery, Dallas, TX
2013
Philbrook Downtown, Philbrook Museum of Art, Tulsa
Back Room, Talley Dunn Gallery, Dallas, TX
1996
Texas Modern and Post-Modern: The Texas Collection of The Museum of Fine Arts, Houston, The Museum of Fine Arts, Houston, Texas
32 Texas Artists, Fifth Floor Gallery, University of Texas-Houston, Houston, Texas
1994
Transformation: Post-War Art from the Museum’s Collection, The Museum of Fine Arts, Houston, Texas
1993 Texas
1992
Island Inspired, Galveston Arts Center, Galveston, Texas
Bob Wilson Collection, Museum of East Texas, Lufkin, Texas
1991
Biennial Exhibition, Whitney Museum of American Art, New York, New York
Galveston Collects Contemporary Art: Post World War II Selections from Galveston Collections, Glaveston Arts Center, Galveston, Texas
1990
Meredith Long & Company, Houston, Texas
1989
Drawings, Prints, and Photographs from the Collection of Bob Wilson, Galveston Arts Center, Galveston, Texas
Meredith Long & Company, Houston, Texas
1988
Texas Art, The Menil Collection, Houston, Texas
1986
Paperworks, Meredith Long & Company, Houston, Texas
Five Texas Artists, McIntosh/Drysdale Gallery, Washington, D.C.
1985
Fresh Paint: The Houston School, The Museum of Fine Arts, Houston, Texas
1984
Group Exhibition, Hadler/Rodriguez Gallery, Houston, Texas
1982
The Americans: The Collage, Contemporary Arts Museum, Houston, Texas
1970
Exhibitions of Paintings, Pastels and Drawings, Catherine Viviano Gallery, New York, New York
Paintings, Sculpture: American and European, Catherine Viviano Gallery, New York, New York
Exhibition of Paintings & Sculpture, Catherine Viviano Gallery, New York, New York
1969
Beckmann, Glasco, Tchelitchew: Drawings, Catherine Viviano Gallery, New York, New York
1966
Permanent Collection Exhibition, Whitney Museum of American Art, New York, New York
1965 Darkness and Light: Twentieth-Century Works from Texas Collection, Sarah Campbell Blaffer Gallery, University of Houston, Houston, Texas Personal Attachments: The Art of Collage/ Assemblage, Hooks-Epstein Galleries, Houston,
A Decade of American Drawings: 1955-1965, Whitney Museum of American Art, New York, New York Three Distinguished Artists from Oklahoma, Museum of Art, University of Oklahoma, Norman, Oklahoma (with Lee Mullican and Leon Polk Smith)
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1964
Elements of Modern Art II: From the Solomon R. Guggenheim Museum, American Federation of the Arts, traveled to Philbrook Art Center, Tulsa, Oklahoma;
Vanderbilt University, Nashville, Tennessee;
Civic Center, Charleston, West Virginia; Gibbes Art Gallery, Charleston, South Carolina; Skidmore College, Saratoga Springs, New York; Temple University, Philadelphia, Pennsylvania; Laguna Gloria Art Museum, Austin, Texas; Old Dominion College, Norfolk, Virginia; Michigan State University, East Lansing, Michigan; Montclair Art Museum, Montclair, New Jersey; Hackley Art Gallery, Muskegon, Michigan
1963 1962 1961
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The Theatre Collects American Art, Whitney Museum of American Art, New York, New York
The Face of the Fifties: Recent Painting and Sculpture from the Collection of the Whitney Museum of American Art, The University of Michigan Museum of Art, Ann Arbor, Michigan
Exhibition of Paintings, Sculpture and Drawings by Contemporary Americans and Europeans, Catherine Viviano Gallery, New York, New York
The Stanley J. Seeger Jr. Collection, The Art Museum, Princeton University, Princeton, New Jersey
The Friends Collect, Whitney Museum of American Art, New York, New York The 28th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington D.C. Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana, Illinois 1960 Robert Broderson, Joseph Glasco, Peter Lanyon, Catherine Viviano Gallery, New York, New York 1959 Exhibition of Drawings, Catherine Viviano Gallery, New York, New York 1958 The 157th Annual Exhibition of Paintings and Sculpture, The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania Forty Artists Under Forty, Whitney Museum of American Art, New York, New York; traveled to Munson-Williams-Proctor Institute Museum of Art, Utica, New York; Memorial Art Gallery of the University of Rochester, Rochester, New York; Roberson Center for the Arts and Sciences, Binghamton, New York; Albany Institute of History and Art, Albany, New York; Everson Museum of Art, Syracuse, New York; Andrew Dickson White Museum of Art, 1957 Cornell University, Ithaca, New York; Albright-Knox Art Gallery, Buffalo, New York Seventh International Annual, duPont Galleries, Mary Washington College, Fredericksburg, Virginia 64th American Exhibition: Painting and Sculpture, The Art Institute of Chicago, Chicago, Illinois
Annual Exhibition 1961: Contemporary American Painting, Whitney Museum of American Art, New York, New York Modern American Drawings, The Festival of Two Worlds, Spoleto, Italy Twentieth-Century Drawings from the Museum of Modern Art, Museum of Modern Art, New York, New York 100 Drawings from the Museum Collection, The Museum of Modern Art, New York, New York Made in New York State, Museum of Modern Art, New York, New York Contemporary American Painters, Montreal Museum of Fine Arts, Montreal, Canada The Museum and Its Friends: Twentieth Century American Art from Collections of the Friends of the Whitney Museum of American Art, Whitney Museum of American Art, New York, New York American Sculpture, The Arts Club of Chicago, Chicago, Illinois; traveled to Milwaukee Art Center, Milwaukee, Wisconsin Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh, Pennsylvania Golden Years of American Drawings, 1905-1956, The Brooklyn Museum, Brooklyn, New York Recent American Acquisitions, The Museum of Modern Art, New York, New York Selection of American Paintings from the Solomon R. Guggenheim Museum, Davison Art Center, Wesleyan University, Middleton,
Connecticut; traveled to Williams College of Art, Williamstown, Massachusetts
Younger American Painters: A Selection, Solomon R. Guggenheim Museum, New York, New York
Contemporary Art Acquisitions, Albright Art Gallery, Buffalo, New York
61st American Exhibition: Paintings and Sculpture, The Art Institute of Chicago, Chicago, Illinois
Recent Loans and Acquisitions, Solomon R. Guggenheim Museum, New York, New York
1956
Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings, Whitney Museum of American Art, New York, New York
1953
Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, Whitney Museum of American Art, New York, New York
International Watercolor Exhibition: 17th Biennial, The Brooklyn Museum, Brooklyn, New York
Exhibition of Paintings, Sculpture, and Drawings by Contemporary Americans and Europeans, Catherine Viviano Gallery, New York, New York 1952 Painters Today, St.-Gaudens Memorial Picture Gallery, Cornish, New Hampshire
1955
Janicki, Sterne, Glasco, The Arts Club of Chicago, Chicago, Illinois
Americans, The Museum of Modern Art, New York, New York
Two-Hundred Years of American Painting, The Vancouver Art Gallery, Vancouver, Canada
4th Annual Invitational Exhibition by Regional Artists, Guild Hall Museum, East Hampton, New York
The 24th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C.
15 Americans, Museum of Modern Art, New York, New York
Exhibition of Drawings, Catherine Viviano Gallery, New York, New York
Vancouver Art Gallery, Vancouver, Canada
1954
Paintings, Gouaches, Drawings, and Sculpture, Catherine Viviano Gallery, New York, New York
Reality and Fantasy: 1900-1954, Walker Art Center, Minneapolis, Minnesota
Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, Whitney Museum of American Art, New York, New York
1951 Three Young Americans: Richard Diebenkorn, Joseph Glasco, Joseph McCullough, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio The New Decade: 35 American Painters and Sculptors, Whitney Museum of American Art, New York, New York; traveled to San Francisco Museum of Art, San Francisco, California; Art Galleries, University of California, Los Angeles, Colorado Springs Fine Arts Center, Colorado 1950 Springs, Colorado, City Art Museum of St. Louis, St. Louis, Missouri Painting, Sculpture, Catherine Viviano Gallery, New York, New York Young Painters, Congress for Cultural Freedom; traveled to Rome, Brussels, Paris
Il Bienal do Museu de Arte Moderna, Museu de Arte Moderna, Sao Paulo, Brazil
Exhibition of Contemporary American Painting, College of Fine and Applied Arts, University of Illinois, Urbana, Illinois 60th Annual American Exhibition: Paintings and Sculpture, The Art Institute of Chicago, Chicago, Illinois Three Painters, Catherine Viviano Gallery, New York, New York (with Kay Sage and Carlyle Brown) Recent Acquisitions, The Museum of Modern Art, New York, New York New Talent, Museum of Modern Art, New York, New York 4th Annual Exhibition of Contemporary Painting, California Palace of the Legion of Honor, San Francisco, California
“Painting for me does not consist in something I have seen, but something I am. There is no ‘subject matter.’ My heads are perhaps landscapes and my landscapes heads. They are interior thoughts that exist in my heart and mind and not in my eyes” - Joseph Glasco
13010 Larchmere Boulevard Cleveland, Ohio 44120 Phone (216) 721-6945 wolfsgallery.com