{"version":"1.0","provider_name":"L.A. Louver - Journal","provider_url":"https:\/\/www.lalouver.com\/journal","author_name":"L.A. Louver","author_url":"https:\/\/www.lalouver.com\/journal\/author\/50percentopacity","title":"In 1959, Jules Langsner brought together work Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson - L.A. Louver - Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"bgi7FBOwbe\"><a href=\"https:\/\/www.lalouver.com\/journal\/in-1959-curator-and-critic-jules-langsner-brought\">In 1959, Jules Langsner brought together work Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lalouver.com\/journal\/in-1959-curator-and-critic-jules-langsner-brought\/embed#?secret=bgi7FBOwbe\" width=\"600\" height=\"338\" title=\"&#8220;In 1959, Jules Langsner brought together work Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson&#8221; &#8212; L.A. Louver - Journal\" data-secret=\"bgi7FBOwbe\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.lalouver.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2014\/03\/tumblr_n346g9k8lB1r7s5hko1_1280.jpg","thumbnail_width":1280,"thumbnail_height":1727,"description":"In 1959, curator and critic Jules Langsner brought together work by hard-edge painters Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson in a historic exhibition at LACMA titled the \u201cFour Abstract Classacists.\u201d Frederick Hammersley shed light on the originations of the term \u201cabstract classicists\u201d in his oral history, commissioned by L.A. Louver in 2003 [&hellip;]"}