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3 Special

Albert Alcalay
Wendy Artin
Distant Lens
Ruth Eckstein
Rubin Gold
Dinora Justice
Ivan Massar
Anne Mastrangelo
Helen Meyrowitz
Elliot Offner
Jonathan Palmer
Miklos Pogany
Arthur Polonsky
Eleanor Rubin
Sloat Shaw

Garabed DerHohannesian

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DerHohannesian’s work was exhibited in many solo and group exhibitions throughout New England, in New York, the mid-West, and Florida. He was represented by the Carl Seimbab gallery, as well as the Margaret Brown Gallery. He first exhibited his work at a group show in 1940, at the Guggenheim in New York, with a group of what he referred to as other “non-objective painters.” Other group exhibitions include the DeCordova Museum, the Institute of Contemporary Art in Boston, the Boston Society of Independent Artists, the Lyman Allyn Art Museum, in New London, CT, the Museum of Modern Art in Yerevan, Armenia, the Director’s Choice Exhibit, Rockport Art Association, and an exhibit from the collection of John D. Merriam at the Boston Public Library. His solo shows included exhibitions at the Charles E. Smith Gallery in Boston in 1950, the Copley Society in Boston in 1955, the Providence Art Club in 1970.


In 1997, the Rhode Island School of Design mounted a retrospective exhibit of DerHohannesian’s two-dimensional work at the Waterman Building Gallery (DerHohannesian worked extensively in three-dimension, and often exhibited his sculptures).


Garabed DerHohannesian was a graduate of the Massachusetts School of Art. He is represented in many prestigious museums and collections, including the Carpenter Gallery of Art at Dartmouth College, the Guggenheim Museum in New York, the Addison Gallery of Art in Andover, MA, and the Boston Public Library.


There has been much eloquent commentary about the work of Garabed DerHohannesian. The celebrated art critic, Dorothy Adlow, of the Christian Science Monitor, wrote this interesting analysis:


“Garabed DerHohannesian is one of the most resourceful and sensitive artists in Boston. In long, studious researches with color, he has learned to use it with meaning and grace. He works in pure abstraction…Through sensitive juxtaposition, he produces sequences, patterns of movement, modulations of hue, superpositions, augmentations, condensations and rarefications. He fuses light, color, line. He produces a dynamic on the pictorial surface that parallels musical composition. Sometimes he sets a line pattern across the figuration of veiled planes, thus producing an effect of a melodic line against an accompaniment of chords…(He) is resourceful with various media as well. He works in oil on gesso, gouache, watercolor, mat board, and metallic paper, casein panel on gesso…(he) works with a gentle, modest hand. The nonobjective pattern comes to be a language-in-itself, beautifully articulate of thought and feeling.” Christian Science Monitor, May, 1950

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