Dan Christensen: The Stain Paintings - Spanierman Modern

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30 Marcia Tucker, The Structure of Color (New York: Whitney Museum of American Art, 1971). James N. Wood, Six Painters (BuValo, N.Y.: Albright-Knox Art Gallery, 1971). Hilton Kramer, “Dickinson Motifs Keep Tradition Alive,” New York Times, October 28, 1972, 23. Jeanne Siegel, Art News (November 1972), 79. Kenworth MoVett, Abstract Painting of the 70s (Boston, Mass.: Museum of Fine Arts, 1972). James K. Monte, Six New York Artists: Paintings (Philadelphia, Pa.: Moore College of Art, 1973). Karen Wilkin, “Dan Christensen: Recent Paintings,” Art International (Summer 1974), 57. Ingeborg Hoesterey, “Ausstellung,” Art International (Summer 1976), 31–32. Donald Doe, Expressionism in the Seventies (Omaha, Nebr.: University of Nebraska at Omaha, 1978). Grace Glueck, “Dan Christensen,” New York Times, March 16, 1979, 24. John Ashbery, “Out of Left Field,” New York Magazine (April 2, 1979), 68. Donald Doe, Dan Christensen: Paintings from the 70s (Omaha, Nebr.: University of Nebraska at Omaha, 1980). John ElderWeld, New Work on Paper 1 (New York: Museum of Modern Art, 1981). Hilton Kramer, “Art: Show of New Works Sets Example at Modern,” New York Times, February 13, 1981, 61. Hilton Kramer, New York Times, “Art,” February 27, 1981, c17. Kay Larson, “Drawing on Strength,” New York Magazine (March 9, 1981), 58–61. John Ashbery, “Pleasures of Paperwork,” Newsweek (March 16, 1981), 93–94. Valentin Tatransky, “New Work in New York,” Museum Magazine (July–August 1981), 64–68. Barbara Rose, Miró in America (Houston, Tex.: Museum of Fine Arts, 1982). Valentin Tatransky, “Dan Christensen,” Arts Magazine (May 1982), 11. Phyllis BraV, “11 East End Painters Illustrate Bold New Trends,” New York Times, September 14, 1986, a1. Dan Cameron, “Before the Field: Paintings from the 60s, at the Daniel Newburgh Gallery,” Flash Art 152 (May–June 1990). Phyllis BraV, “Social and Political Situations,” New York Times, Long Island Weekly [supplement], June, 17, 1991, 17. Roberta Smith, “A Color Field Painter From the 60s to Now,” New York Times, August 2, 1991, c23. Ruth Bass, “Dan Christensen,” Art News (November 1991), 136. Lee Rosenbaum, “If It’s Not Popular, That’s Just Too Bad,” New York Times, March 7, 1993, h33–34. Holland Cotter, “Art in Review—‘1969: A Year Revisited,’” New York Times, July 15, 1994, c23. Holland Cotter, “Art in Review,” New York Times, July 22, 1994, c24. Hearne Pardee, “Dan Christensen,” Art News (January 1995), 165–66. Karen Wilkin, “At the Galleries,” Partisan Review (Fall 1999), 640–52. Helen A. Harrison, “Landscapes of Fantasy, and a Devotion to Color,” New York Times, December 8, 2002, li21. Katherine B. Crum, Dan Christensen—ReXections on a Retrospective (Southampton, N.Y.: Parrish Art Museum, 2002). Stephen Westfall, Dan Christensen (New York: Spanierman Modern, 2007). Elaine Grove, Dan Christensen: The Plaid Paintings (New York: Spanierman Modern, 2009). Sharon L. Kennedy, Douglas Drake, and Karen Wilkin, Dan Christensen: Forty Years of Painting (Kansas City, Mo.: Kemper Museum of Contemporary Art, 2009).
AwA r d s 1992 Pollock-Krasner Foundation Grant 1986 Gottlieb Foundation Grant 1969 Guggenheim Fellowship Theodoran Award 1968 National Endowment Grant m u s e u m c o L L e c t i o n s Albrecht-Kemper Museum of Art Gallery, St. Joseph, Missouri Albright-Knox Gallery, BuValo, New York Allen Memorial Art Museum, Oberlin, Ohio Art Institute of Chicago Blanton Museum of American Art, University of Texas at Austin Butler Institute of American Art, Youngstown, Ohio Dayton Art Institute, Ohio Denver Museum of Art Detroit Institute of Art Edmonton Art Gallery, Alberta, Canada Eversen Museum of Art, Syracuse, New York Fine Arts Museums of San Francisco Greenville County Museum of Art, South Carolina Guild Hall Museum, East Hampton, New York Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York High Museum of Art, Atlanta, Georgia Hirshhorn Museum and Sculpture Garden, Washington, D.C. Indianapolis Museum of Art Kemper Museum of Contemporary Art, Kansas City, Missouri Kunstmuseum, St. Gallen, Switzerland Ludwig Collection in the Wallraf-Richartz Museum, Cologne, Germany Metropolitan Museum of Art, New York Mulvane Art Museum, Washburn University, Topeka, Kansas Museum für Moderne Kunst, Frankfurt am Main, Germany Museum of Art, Fort Lauderdale, Florida Museum of Contemporary Art, Chicago Museum of Contemporary Art, Los Angeles Museum of Fine Arts, Boston Museum of Fine Arts, Houston, Texas Museum of Modern Art, New York Museum of Nebraska Art, Kearney Nelson-Atkins Museum, Kansas City, Missouri Parrish Art Museum, Southampton, New York Portland Museum of Art, Oregon Saint Louis Art Museum San Francisco Museum of Modern Art Santa Barbara Museum of Art, California Seattle Art Museum Sheldon Museum of Art, University of Nebraska, Lincoln Solomon R. Guggenheim Museum, New York Spencer Museum of Art, University of Kansas, Lawrence Telfair Museum of Art, Savannah, Georgia Toledo Museum, Ohio Whitney Museum of American Art, New York 31
Page 1: d A n c h r i s t e n s e n the stA
Page 4 and 5: Among coLor fieLd painters, Dan Chr
Page 6 and 7: or dividing it down the center—as
Page 8 and 9: It was works such as this to which
Page 10 and 11: idge, 1976, AcryLic on cAnvAs, 78 x
Page 12 and 13: 12 polarstar, 1978, AcryLic And ges
Page 14 and 15: 14 norseland, 1979, AcryLic And ges
Page 16 and 17: 16 infield seltzer, 1980, AcryLic o
Page 18 and 19: 18 sissystrut, 1980, AcryLic on cAn
Page 20 and 21: 20 coahoma, 1981, AcryLic on cAnvAs
Page 22 and 23: 22 carib cocktail, 1981, AcryLic on
Page 24 and 25: 24 tokyo tattoo, 1981, AcryLic on c
Page 26 and 27: 26 troubadour, 1988, AcryLic on cAn
Page 28 and 29: 28 dAn christensen b. 1942, Cozad,
Page 32: Published in the United States of A

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