Will Horwitt by Mary Judge @ Schema Projects

"I first encountered the work of Will Horwitt in the home of a collector. The work  in question was placed high on a wall and shared company with, among other things, a Judd print. It was a black ink line drawing executed with a brush, composed of overlapping rounded off square shapes, one set upon another, minimal and pure.  This drawing, more than any other of the many works in the entire room, captured my attention.  At that same time, I also came to discover his bronze and wood sculptures which were equally compelling. What happened to this voice, I wondered, why had I not heard of Horwitt?
When I was able to see more of these drawings, my appreciation of the work grew. I discovered a zen-ike concentration in the controlled but exploratory quality of the line in his drawings, which ranged from vulnerable ragged tangles, to mono-lithic textural masses incised or defined by thick ribbons of  ink.  Other drawings seemed to map out pathways over  propositional forms,  some suggesting folds, others rings of sculptural line.  In some, one senses the figure, in others, a random displacement of rocks on a forest floor.  The drawings on display in this show set a quiet mood and evoke a feeling of purity and piety, not that of the sublime, but that found in the everyday.
Horwitt’s output related to many currents flowing around him at that time in New York  City: which are mentioned below. It was clear from the start that this was work of merit; it needed to be seen.  When I first contemplated opening and running a gallery from my building in Bushwick, the first show I wanted to do was Will’s. This, his mature and deeply felt work, had never risen fully to it’s proper place.  I hope to right this fact in some small way with our exhibition of Will’s drawing from the 60’s."

Mary Judge,
Owner/Director Schema Projects



Schema Projects is privileged to present, Will Horwitt, Drawings from the 60’s.

Will Horwitt wrote in his sketchbook in 1977- “to be, not to be seen”. Blending modernism and primitivism, his work yields nothing short of poetry. Over the course of Will’s too-brief career, drawing played an integral part in his studio practice. His work in sculpture plaster to bronze casting, massive wood pieces, aluminum, stone and finally steel, is strongly reflected in the multitude of drawings he made during his lifetime. Though he worked in a simplified abstract mode reminiscent of Brancusi, Arp and the Asian influence of Noguchi, he continued to do self-portraits throughout his career.



The drawing mediums varied, sometimes india ink, wash and brush, others in pencil and pastel, a strong black on white component dominates although on occasion he integrated color. His late sculptures integrate with incised lines in wood, much of the feeling of his drawings. He said, “Sculpture isn’t about the object, it’s about the space around it.” He might also have added “inside it” as the last steel pieces mediate between interior and exterior space. His sculptural works are drawings in metal and wood.

Will Horwitt was born in New York City in 1934 and grew up in Stockbridge, MA. He spent his adolescence in Stockbridge, Massachusetts. In 1965 he received the Guggenheim Fellowship for creative sculpture. Three years later he was awarded the Tiffany Purchase Grant. Will Horwitt was living and working in Tribeca when he died of lymphoma at Mount Sinai Hospital in New York City at the age of 51.

John Canaday wrote, “Mr. Horwitt is a most gratifying workman. The simplified, subtly warped forms in expressive balances are consistently mindful of Brancusi, but that is a good point of departure. Mr. Horwitt comes through as one of the strongest young sculptors around.” (NY Times, 1965)

His work is included in the collections of Yale University Art Gallery, Boston Museum of Fine Arts, Albright Knox Art Gallery, Herbert F. Johnson Museum of Cornell University, Hirshhorn Museum and Sculpture Garden the Smithsonian Museum, Washington DC, Indianapolis Museum of Art, Solomon R Guggenheim Museum NYC, the Wadworth Atheneum, Hartford CT, and the private collections of Nelson A Rockefeller, Vera and Albert List, Helen and RobertBenjamin among others.

Will Horwitt was represented in his lifetime by Lee Ault & Company and then Vanderwoude & Tananbaum Gallery.

Amy Feldman


In her first exhibition in Stockholm, the New York-based artist Amy Feldman presents a new series of paintings. The gallery has published a catalogue, with a text by Barry Schwabsky, to accompany this exhibition.

Feldman's 'seemingly simple', all gray abstractions utilize an economy of form to construct an image. The forms, often graphic and cartoon-like, are blunt and direct, addressing both the space of the painting and the viewer's physical space. Marked by urgency and the strongest of line and form, each painting displays deliberateness and ingenuity with underlying depth and humor.

Feldman's paint is carefully mixed, and then walloped on the canvas, allowed to drip every which way. There is no erasure or regret involved in her process, and the work prides itself on achieving a balance between the brazenly rough and consciously poised. As grays bounce and pop, Feldman conjures a tradition of gray in Painting that can be at once evocative and elusive. Pairing pop iconography with the 'non-color' gray, Feldman pivots the lighthearted against the monumental. As Barry Schwabsky writes in the catalogue, "Feldman knows how to give lightness of spirit a monumental presence."

Amy Feldman (b.1981) lives and works in Brooklyn, NY. She received a BFA from the Rhode Island School of Design and an MFA from Rutgers University. Recent exhibitions include Dark Selects, solo exhibition, Blackston, New York, NY; DNA, Loretta Howard Gallery, New York; Salon Zürcher, Galerie Zürcher, Paris, France; The Academy of Arts and Letters Invitational Exhibition, The Academy of Arts and Letters, New York, NY; Decenter, Abrons Art Center, New York, NY. Her work has been featured in The New York Times, Art in America, Time Out New York, the Brooklyn Rail, Hyperallergic, NY Arts Magazine, Le Quotidien del'Art, The Art Economist, Saatchi Online Magazine, The San Francisco Chronicle, SF Weeklyand and the Huffington Post. Feldman was an artist-in-residence and Visiting Faculty at Virginia Commonwealth University, and was selected as the Robert Motherwell Fellow at The MacDowell Colony. She was awarded a New Jersey State Council on the Arts Grant and has also received fellowships from VCUArts and the Fountainhead Foundation, The Henry Street Settlement at the Abrons Art Center, Yaddo, the Marie Walsh Sharpe Foundation and the Skowhegan School of Painting and Sculpture.