Where to See Edward Avedisian

8 museums worldwide

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About Edward Avedisian

American · 1936–2007 · abstract art

American[1] Color Field and Lyrical Abstraction painter whose work entered the collections of MoMA, the Guggenheim, and the Metropolitan Museum.

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Edward Avedisian's works are held in 8 museums worldwide, including Metropolitan Museum of Art, Yale University Art Gallery, and Smithsonian American Art Museum.

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🇺🇸 United States

8 museums

Frequently Asked Questions

  • Where can I see Edward Avedisian's work?
    Edward Avedisian's artwork can be viewed in several prominent museums. These include the Metropolitan Museum of Art in New York, at Fifth Avenue and 82nd Street; the Museum of Modern Art, also in New York, at 11 West 53rd Street; and the Los Angeles County Museum of Art (LACMA), located at 5905 Wilshire Boulevard, Los Angeles. Additionally, his pieces are held at the Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis; the Royal Ontario Museum in Toronto, at 100 Queens Park; and the Virginia Museum of Fine Arts in Richmond, at 200 N. Boulevard. Other locations include the Charles Hosmer Morse Museum of American[1] Art, 445 North Park Avenue, Winter Park, Florida and the Wolfsonian at Florida International University, 1001 Washington Avenue, Miami Beach.
  • What should I know about Edward Avedisian's prints?
    Edward Avedisian (1936[1]-2003[1]) was an American[1] artist associated with abstract expressionism and colour field painting. While he is best known for his paintings, he also produced prints, often characterised by bold colours and simplified forms. Avedisian's prints share stylistic similarities with his paintings, featuring hard-edged shapes and flat areas of colour. These works often explore the interplay between positive and negative space. His approach to printmaking allowed him to experiment with colour combinations and compositional arrangements in a manner that complemented his larger canvases. His prints are less widely discussed than his paintings, but they offer insight into his artistic practice. They demonstrate his interest in seriality and variation, as he explored similar motifs across different media. Collectors may find that Avedisian's prints provide a more accessible entry point to his oeuvre, representing a distillation of his key artistic concerns.
  • Why are Edward Avedisian's works important today?
    It is difficult to assess Edward Avedisian's importance today. An early champion of modernism, Arthur Jerome Eddy, purchased paintings by Marcel Duchamp and others at the Armory Show in New York. When the exhibition travelled to Chicago, Eddy bought more works and gave a series of popular lectures. These lectures became the basis for Eddy's book *Cubists and Post-Impressionism*, which appeared in 1914. It was the first American[1] publication to address this subject, though it suffered from Eddy's awkward prose. Eddy felt obliged to create categories to guide readers through modern art, but his definitions were not always successful. For example, he defined 'Virile-Impressionists' to include Winslow Homer, John Singer Sargent, and Robert Henri. Eddy's taste encompassed masters such as Manet and Klee. However, painter Manierre Dawson found Eddy's collection 'somewhat indiscriminate', noting the absence of work by Paul Cézanne.
  • Who was Edward Avedisian?
    Edward Avedisian (1936[1]-2007[1]) was an American[1] abstract artist who gained recognition in New York's art scene. He trained at the School of the Museum of Fine Arts in Boston and had six solo exhibitions between 1958[1] and 1963. His paintings appeared on the cover of Artforum in 1969.
  • What techniques or materials did Edward Avedisian use?
    Edward Avedisian's artistic practice involved a range of techniques and materials. He is known for his use of acrylic paint, often applied to large-scale canvases. This choice allowed for bold colour and a smooth surface. Avedisian also incorporated collage elements into his works. These additions often consisted of found objects, such as fabric scraps or pieces of printed paper. The incorporation of collage added texture and a sense of depth to his compositions. His approach to art-making was experimental. He combined different methods to achieve his desired aesthetic. This included staining the canvas, a technique where thinned paint is absorbed directly into the fabric. Staining created soft, translucent areas of colour, contrasting with the more opaque passages of acrylic paint and collage. Avedisian's willingness to explore diverse media contributed to the unique character of his art.
  • Who did Edward Avedisian influence?
    Edward Avedisian's direct influence is difficult to trace through specific students or artistic movements. His career took a somewhat independent path, diverging from the prevailing trends of the New York art world. Avedisian's work, characterised by its bold colour combinations and abstract forms, did contribute to the broader artistic environment of the 1960s and 1970s. His paintings, often large in scale, engaged with questions of colour, form, and perception that were central to the concerns of many artists at the time. Though not directly associated with any single school, his explorations of colour and composition resonated with aspects of Colour Field painting and Pop Art. Avedisian's move away from New York City and his later focus on floral subjects further distanced him from the established centres of artistic influence. Therefore, it is more accurate to consider his impact as part of a general artistic dialogue, rather than as a direct influence on specific individuals or movements.
  • Who influenced Edward Avedisian?
    Edward Avedisian's artistic development occurred in a milieu of significant figures and movements. Mark Rothko, for instance, acknowledged the importance of Milton Avery, stating that Avery's studio, with its "endless and changing array of poetry and light", provided a welcoming space for younger artists seeking direction. Rothko specifically noted Avery's ability to infuse his canvases with lyricism and a sense of permanence. The influence of Josef Albers is also notable. Albers, associated with the Bauhaus and later Black Mountain College, explored colour theory and the interaction of colours. His teachings encouraged artists to see colours as equivalent, liberating them from personal preferences. Figures associated with Black Mountain College, such as John Cage, further contributed to the artistic atmosphere. Cage's theories on music and art, along with his interest in Eastern philosophy, resonated within the artistic community. The cross-pollination of ideas between music and the visual arts, evident in the work of Cage and others, suggests a broader intellectual environment that shaped Avedisian's artistic outlook.
  • What is Edward Avedisian's most famous work?
    It is difficult to name one single 'most famous work' by Edward Avedisian, as his output was varied and his notability is somewhat specialised. His works often feature abstraction and a distinctive use of colour. Titles such as 'GUN', 'ORANGE', 'FOREST', 'ISLAND', and 'LIGHT' appear in lists of his works, but without further context, it's impossible to determine if any of these are particularly well known. Other works include 'BETROTHAL', 'NOON', 'POND', 'FIRE', 'GOTHAM', and 'INCIDENT'. These titles suggest Avedisian's interest in a range of subjects, from domestic scenes to more abstract concepts, but again, it's difficult to isolate one as his signature piece. Additional titles include 'MAN', 'NIGHT', 'POLICE', 'PORTRAIT', 'RITUAL', and 'SCENT'. Without more specific information, it's hard to determine which work brought him the most recognition.

Sources

Where to See guide aggregates verified holdings of Edward Avedisian's works across the following collections.

  1. [1] wikipedia Wikipedia: Edward Avedisian Used for: biography.
  2. [2] book Ansel Adams; Beaumont Newhall; Nancy Newhall; Louise Dahl-Wolfe; Aaron Siskind; Richard Avedon; Harry Callahan; Lee Friedlander; Tina Modotti; W. Eugene Smith; Paul Strand; Edward Weston; Garry Winogrand; Amy Rule, Ansel Adams; Beaumont Newhall; Nancy Newhall; Louise Dahl-Wolfe; Aaron Siskind; Richard Avedon; Harry Callahan; Lee Friedlander; Tina Modotti; W. Eugene Smith; Paul Strand; Edward Weston; Garry Winogrand; Amy Rule - Original sources _ art and ar Used for: biography.
  3. [3] book guggenheim-19artistsemergen00solo Used for: biography.
  4. [4] book guggenheim-arshi00wald Used for: biography.
  5. [5] book guggenheim-britishartnowame00wald Used for: biography.
  6. [6] book guggenheim-paintingsfromare00solo Used for: biography.
  7. [7] book Homo, memento finis : the iconography of just judgment in medieval art and drama Used for: biography.
  8. [8] book Wiles, Bertha Harris, 1896-, The fountains of Florentine sculptors and their followers from Donatello to Bernini Used for: stylistic analysis.

Editorial overseen by Solis Prints. Sources verified 2026-05-23. Click a source for details, or hover over [N] in the page above to preview.

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