Curatorial Ethos
The gallery focuses on thematic group shows as well as solo exhibitions by emerging, established, and historical artists, guided by Glimcher’s six decades of pioneering exhibition-making and steadfast commitment to close collaboration with artists.
125 Newbury is a project space in New York City’s Tribeca neighborhood helmed by Arne Glimcher, founder of Pace Gallery. Located at 395 Broadway in a landmark building with 3,900 square feet of renovated gallery space, it presents up to five exhibitions per year. The team, led by directors Arne Glimcher, Kathleen McDonnell, Talia Rosen, and Oliver Shultz, develops cutting-edge shows reflecting a global, cross-generational perspective.
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395 Broadway, New York, NY 10013
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Artists & People
Full directory →Artists
Represented and guest artists exhibiting with the gallery.
Mark Rothko
Mark Rothko (1903–1970) was a Latvian-born American painter and a pioneer of the New York School. Born in Dvinsk in the Russian Empire, he emigrated to the United States as a child. After figurative and then mythic, biomorphic work in the 1930s and 1940s, he arrived at the Color Field paintings for which he is best known: large canvases, produced from 1949 until his death, in which soft-edged rectangles of luminous, layered color seem to float on the surface. Rothko held that painting could communicate basic human emotions and offer a profound psychological and spiritual experience. Although he did not subscribe to any single school, he is closely associated with Abstract Expressionism.
Adolph Gottlieb
Adolph Gottlieb (1903–1974) was an American painter, sculptor, and printmaker and a leading figure of the New York School. An advocate of abstraction, he drew on automatism, Surrealism, and so-called primitive art. He first gained wide recognition for his Pictographs of the 1940s, which combine biomorphic and totemic imagery within compartmentalized grids, and went on to develop his Labyrinths, Imaginary Landscapes, and Bursts. In 1950 he organized the protest against an exhibition policy of The Metropolitan Museum of Art that made him and his fellow artists known as the Irascibles.