Topics in American Art since 1945

By Lawrence Alloway | Go to book overview
Save to active project


A Chronology

The Reuben Gallery (at both its addresses, 61 4th Avenue and 44 East 3rd Street) was one of a number of downtown galleries, important in New York in the 50s, for showing new, experimental, or unfashionable work. This is not the place for a history of them, but reference to a few helps define the position of the Reuben Gallery. Allan Kaprow and George Segal came from the Hansa Gallery (the word compounded from Hans Hofmann's Christian name and the Hanseatic League), a cooperative gallery that ran from 1952 until the close of the 1958-59 season. Red Grooms used successive studios as a gallery: first the City Gallery (1958-59 season), then the Delancey Street Museum (1959-60 season), which coincided with the Reuben's first season. The Judson Gallery, including Dine and Oldenburg, paralleled the opening of the Reuben Gallery, and then, subsequently, joined it. There was, as these examples show, an easy contact between artist and gallery, an affinity between the act of production and the act of presentation, which was very different from the regular marketing or promotional activities of art dealers.

Pop art, used as a comprehensive term, includes most of the Reuben Gallery artists. However, their early work and personal developments are entirely different from other artists called Pop, such as Andy Warhol or Roy Lichtenstein. There was, for instance, a strong expressionistic undercurrent to much of the work shown there. They are different again, despite a connection with John Cage in Kaprow's case, from Jasper Johns or from Robert Rauschenberg. To the extent that there is a Reuben Gallery style, it existed momentarily and was unevenly manifested in different artists. However, there was a shared quality which is

SOURCE: From Eleven from the Rueben Gallery (New York, 1965), unpaginated, the catalogue of the exhibition at the Solomon R. Guggenheim Museum.


Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Cite this page

Cited page

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
Topics in American Art since 1945


Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 283

matching results for page

Cited passage

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?