California Painting: 40 Painters
1956–1957
Venues
Exhibition InfoOrganized by the Municipal Art Center, Long Beach, with the San Francisco Museum of Art, and circulated by the Smithsonian Institution Traveling Exhibition Service, Washington, D.C.Municipal Art Center, Long Beach, Calif.
Atlanta Public Library
Fine Arts Gallery, Indiana State Teachers College, Terre Haute
North Carolina State College, Raleigh
Sarasota Art Association, Sarasota, Fla.
Speed Art Museum, Louisville
University of Michigan Museum of Art, Ann Arbor
Lamont Art Gallery, Phillips Exeter Academy
Utah State Student Union, Logan
University of Utah, Salt Lake City
Fine Arts Gallery, University of British Columbia, Vancouver
June 5, 1956
-
June 26, 1956
Atlanta Public Library
July 10, 1956
-
July 31, 1956
Fine Arts Gallery, Indiana State Teachers College, Terre Haute
October 2, 1956
-
October 22, 1956
North Carolina State College, Raleigh
November 4, 1956
-
November 25, 1956
Sarasota Art Association, Sarasota, Fla.
December 9, 1956
-
January 3, 1957
Speed Art Museum, Louisville
January 17, 1957
-
February 10, 1957
University of Michigan Museum of Art, Ann Arbor
April 1, 1957
-
April 22, 1957
Lamont Art Gallery, Phillips Exeter Academy
May 5, 1957
-
May 26, 1957
Utah State Student Union, Logan
September 1, 1957
-
September 22, 1957
University of Utah, Salt Lake City
October 6, 1957
-
1957-11
Fine Arts Gallery, University of British Columbia, Vancouver
November 10, 1957
-
December 1, 1957
Curated by Samuel Heavenrich and Grace L. McCann Morley
A catalogue was published on occasion of the exhibition.
After the first venue, the exhibition was titled California Painting.
“‘What I paint often seems to pertain to landscape but I try to avoid any rationalization of this either in my painting or in later thinking about it. I’m not a landscape painter (at this time, at any rate) or I would paint landscape directly.
‘I don’t object to verbalizing about painting or feel that words damage it. I am simply aware of and (with my first paragraph in mind) wary of the scant and often absurb [sic] relationship between painters’ works and their verbal stances and self-justifications.’” —Richard Diebenkorn, exhibition catalogue for “California Painting: 40 Painters” (1956)
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