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Midcentury collectivism on Long Island

One of the good things about art history is that it is always being rewritten. In the case of the New York School, that self-described Greatest Generation of midcentury artists, newer histories have moved past the singular, heroic-figure narrative to emphasize the era’s inherent collectivism and internationalism, and the presence of women — and not just as wives or lovers.

“Esteban Vicente: Portrait of the Artist,” at the Parrish Art Museum in Southampton, starts with one artist, but quickly — and thankfully — opens up into one of these broader, more inclusive chapters. Vicente (1903-2001), a Spanish-born artist who lived most of his life in New York, was best known for his collages, and a big red abstract-floral one greets visitors at the entrance. A watercolor by his contemporary Philip Pavia, “Freefall No. 2” from 1959, hangs nearby, however, turning the installation immediately into a dialogue.

The first room focuses not just on collectivity, but also on what a wall label calls “connectivity”: artists gathering casually in the 1940s at a cafeteria in Greenwich Village and eventually forming the Club, which met for both social purposes and panel discussions centered on philosophy, music, poetry, literature and film....
Read entire article at NYT