David Hockney @ Paul Kasmin Gallery, NYC

David Hockney: Works on Paper, 1961 - 2009
Paul Kasmin Gallery, New York
Through January 13, 2018

DAVID HOCKNEY

Kas and Jane, 1965

Crayon on paper , 17 x 13 3/4 inches framed.

© David Hockney

DAVID HOCKNEY

Untitled III, 2009

Charcoal on paper, 26 x 40 inches

© David Hockney

Paul Kasmin Gallery presents David Hockney: Works on Paper, 1961 – 2009, the artist’s second exhibition with the gallery on view since November 9 to January 13 at 297 Tenth Avenue.  The exhibition presents a selection of Hockney’s recent East Yorkshire landscapes, as well as intimate portraits and set designs from as early as 1961 during his time as a student at the Royal College of Art.

David Hockney’s interest in landscape and nature’s cycles was ignited in recent years after returning in 1999 to East Yorkshire, England a lush area near his hometown of Bradford. In composing his landscapes, Hockney would continuously return to the same location in order to capture the gradual changes of seasons across a range of media. The exhibition features four charcoal on paper works including Hockney’s Autumn Thixendale, October 19th, 2008, and Fresh Timber on Woldgate, 2008, that emphasize the soft, organic forms of the foliage in play with the seasonal weather, flanked against stark farming patterns of the Yorkshire countryside.

Created at the outset of his career, David Hockney’s drawings from the 1960s and 70s capture the development of what would become his iconic and inventive style, often reflecting on his travels and friends of the moment.  In Kasmin,1973, Hockney uses pencil on paper to depict his art dealer seated in a Parisian studio that once belonged to Balthus.  This work was made at a time when Hockney “was trying to break out of something…of what [he] called ‘obsessive naturalism.”   Executed years later, Peter Langan, 1981, is a compelling example of Hockney’s portraiture, made with the most economical of marks and clever for the innovative approach to scale with respect to the head within the composition.

The exhibition coincides with the major retrospective, David Hockney, at The Metropolitan Museum of Art, New York, which had staged earlier this year at the Tate Britain, London and Centre Georges Pompidou, Paris.

DAVID HOCKNEY (b.  1937, Bradford, England) is a pioneer of the British Pop Art movement and one of the most influential living artists today. The artist is universally recognized for his singular aesthetic developed through a myriad of media, including photographic collages, opera staging, paintings, and drawings using materials ranging from pencil to iPad. Paul Kasmin Gallery presented its first exhibition of David Hockney's work in 2015, which featured a selection of the artist's early drawings. The artist currently lives and works in Los Angeles and East Yorkshire, England.

PAUL KASMIN GALLERY
297 Tenth Avenue, New York, NI 10001
http://paulkasmingallery.com

Impasse Ronsin @ Paul Kasmin Gallery, NYC

Impasse Ronsin
Paul Kasmin Gallery, New York
October 28, 2016 - January 14, 2017

Paul Kasmin Gallery announces the forthcoming exhibition, Impasse Ronsin, which will be on view at 515 West 27th Street from October 28th – December 23rd, 2016.  Taking as its focus the historic Parisian alley once home to the studios of Constantin Brancusi, William N. Copley, Max Ernst, Yves Klein, Les Lalanne, Larry Rivers, Niki de Saint Phalle, Jean Tinguely and numerous other seminal 20th-century artists, the exhibition will include work by these artists in an elaborate installation designed to embody the collaborative atmosphere of the Impasse Ronsin.

At the heart of the original Impasse Ronsin complex, as well as in this exhibition, stands Constantin Brancusi, who moved into the Impasse in 1916 and would remain there until his death in 1957. During those forty-one years, countless seminal artists made the pilgrimage to the Impasse Ronsin in hopes of meeting the artist, whom Marcel Duchamp famously referred to as “The Queen Mother of the Impasse Ronsin” .  The exhibition will feature a bronze edition of Princess X, one of Brancusi’s most iconic forms, as well as a selection of the artist’s vintage photographs depicting the studio and its contents.  Brancusi’s studio as it was arranged at the time of his death was later meticulously reconstructed opposite the Centre Pompidou in Paris, where it has been open to the public since 1997.

From the 1930s through the 1950s, the Impasse Ronsin was an area closely associated with Dada and Surrealism.  While neither had permanent studios in the Impasse, both Man Ray and Marcel Duchamp were fixtures at the complex.  Included in the exhibition is a vintage photograph of Brancusi and his dogs taken at the Impasse by Man Ray, as well as an original set of Duchamp’s “Rotoreliefs” and his film Anemic Cinema, 1926, in which they were used.

This Surrealist spirit would remain at Ronsin through the 1950s and 1960s, when artists such as William N. Copley, Max Ernst and Les Lalanne would inhabit studios.  Max Ernst’s Dancers Under the Starry Sky, 1951, a painting aptly characteristic of this spirit, will be on view for the first time in sixty-four years.  Also executed in 1951 is William N. Copley’s Steroptic Nude, one of the artist’s most important early paintings and last exhibited in the artist’s 1980 retrospective at the Kunsthalle Bern.  The renowned collaborative duo Francois-Xavier Lalanne and his wife Claude Lalanne first met at the Impasse Ronsin in 1952, where iconic works such as Mouton de Laine and Choupatte were initially conceived, and which will be included in the exhibition.

More than anything else, collaboration and perpetual dialogue defined the Impasse Ronsin. In 1961, it was the locale in which Niki de Saint Phalle famously staged her “Shooting Paintings” with the help of Jean Tinguely, Yves Klein and Pierre Restany.  On view in Impasse Ronsin will be Tir (Fragment de Dracula II), 1961 – one of the most substantial and important works from the series.  Also included is Turning Friendship Model from the same year – a kinetic sculpture made by Larry Rivers with the help of Jean Tinguely.

In the rear gallery The Noguchi Museum will create an installation that evokes the ‘Brancusi-like’ studio Isamu Noguchi established just south of Paris, in Gentily, in 1927, after serving as the Romanian’s assistant. As the only artist to have come out of Brancusi’s studio, Noguchi’s insights into that Modernist Eden of ambiguity- where traditional craft met the avant-garde, object became indistinguishable from base, and art was life-are of particular interest.

The cooperative, convivial environment of the Impasse Ronsin has never been adequately articulated in the history of 20th-century art, but today, with sprawling artist communities thriving in Beijing, Berlin, Brooklyn, London, Los Angeles, Mexico City, etc., its story has never been more relevant.

A comprehensive monograph including an essay by Jerôme Neutres, extensive archival images and texts, and a selection of interviews conducted by independent curator and art historian Adrian Dannatt will accompany the exhibition.

PAUL KASMIN GALLERY
http://paulkasmingallery.com

Roxy Paine @ Paul Kasmin Gallery, NYC: Thermoplastic Flux

Roxy Paine 
Thermoplastic Flux
Paul Kasmin Gallery, NYC
Through October 22, 2016

ROXY PAINE

Salt Almanac, 2013.

Ink on paper, 29 ¾ x 40 ½ inches.

© Copyright the artist, Courtesy of Paul Kasmin Gallery

Paul Kasmin Gallery is pleased to announce an exhibition of drawings ROXY PAINE through October 22, 2016 at 297 Tenth Avenue, New York.  Roxy Paine's substantial body of work as a sculptor spans the monumental and the microscopic, but this exhibition will be the first that focuses solely on his works on paper.  The exhibition will show Paine’s drawings to be a significant and distinct aspect of his extensive and varied oeuvre.

This exhibition is curated by Judith Goldman, a writer and curator based in New York City.  A catalogue with an essay and an interview between Judith Goldman and Roxy Paine will be published on occasion of the show.

Perceptible in virtually all of the drawings is a layering of imagery, ranging from the diagrammatic, to the topographic, to the pixelated.  Botanical forms, organic matter, and architectural plans are juxtaposed with portraits, real and imagined cartography, and industrial signs.  Roxy Paine’s perspective is trans-temporal, it shoots across centuries’ branches of knowledge, gathering motifs from eclectic sources, high and low, ancient and modern. Yet the drawings gradually reveal specific themes – of containment, regulation, boundaries, mapping.  By extension, for Roxy Paine, the mapping serves as a metaphor for thought experiments working to understand complex structures, places, patterns and systems.

Roxy Paine has long been driven to grapple with the relationship between the organic and mechanical systems in our everyday life.  He is fascinated with the natural versus the industrial worlds and how these two continually coalesce and collide, and the grey areas in between which oscillate from cacophony to clarity and back again.  Through his work, he tries to anticipate unknowable outcomes.

Roxy Paine’s drawings are a vital component of his ceaseless investigation of knowledge in how information is discussed, transferred, posted and received.  The drawings are an experimental way to trace, catalogue, and visualize a mindset.  When looking at them collectively, it becomes apparent that his approach to the paper is an extension of his sculptural process, as if it’s an initial encounter with a puzzle that may later be realized in three dimensions.   Finally, and crucially, the drawings provide evidence of the artist’s hand.   The verisimilitude of his finished sculptures is laborious and engaged, as virtually all of his sculptures are made carefully by hand but appear to be machine-made.  In the drawings, Roxy Paine’s dexterity as a draftsman is tangible and compelling in equal measure.

ROXY PAINE

Exhibited internationally since the early 1990s, Roxy Paine is the recipient of numerous awards, including the John Simon Guggenheim Memorial Foundation Fellowship, and the Trustees Award for an Emerging Artist by the Aldrich Contemporary Art Museum. His work has been installed in prominent venues including the Whitney Museum of American Art, New York’s Central Park, Madison Square Park, and, in 2009, a site specific installation for the rooftop garden of the Metropolitan Museum of Art. His work is included in various collections including the Museum of Modern Art New York, Museum of Modern Art San Francisco, and the Museum of Contemporary Art Los Angeles.

This fall, Roxy Paine’s Dioramas will be on view at the Beeler Gallery at the Columbus College of Art and Design, Ohio.  A second exhibition at the Paul Kasmin Gallery is planned for Spring 2017, featuring his most recent sculpture.

PAUL KASMIN GALLERY

www.paulkasmingallery.com

Ian Davenport @ Paul Kasmin Gallery, NYC

Ian Davenport: Doubletake
Paul Kasmin Gallery, NYC
Through October 22, 2016

Ian Davenport

Light Blue, The Marriage, 2016

Acrylic on stainless steel mounted to aluminum panel, 58 ¼ x 43 3/8 inches.

Courtesy of the artist and Paul Kasmin Gallery.

Paul Kasmin Gallery presents Doubletake, an exhibition of new paintings by the British artist Ian Davenport, on view through October 22, 2016 at 293 Tenth Avenue in New York. This is his first solo show at the gallery since 2013.

In Doubletake, Ian Davenport explores the chromatic essence of historical masterpieces, the palette of many of the paintings being inspired by a canonical work. He has ranged widely through history for his sources, paying homage to paintings spanning from the 16th century to the 20th, creating a remarkable record of a painter’s taste and powerfully demonstrating how a great tradition of historical pictures can inform contemporary art. His technique, driven by an enduring fascination with the materiality of paint and the process of painting, is similar in each. First, after studying the painting in depth and gaining an intuitive understanding of its colors and hues, he goes to work using his signature technique, which delivers elegant vertical lines cascading down the panels into rich puddles of color.

Their effect is both sublime, in their evocation of waterfalls, and subliminal, in their reminders of history. Referenced paintings include Van Gogh’s “The Church in Auvers-sur-Oise, View from the Chevet”, (1890) pulling out the rich blues of the sky, the green and beige from the lawn and path, and the reds from the roof of the church. Other works that have inspired him include Jan Brueghel the Elder’s “Flowers In A Wooden Vessel,” (1606), “Mada Primavesi” (1912) by Gustav Klimt, and “The Marriage of the Virgin” (1504) by the Italian Renaissance master Perugino. Each time, Davenport uses the colors in the historical work as a reference point to initiate his own color sequences and explorations of movement, surface and light.  In so doing, he questions how color gives shape to a picture, helping to structure the background and foreground in representational pictures, and produce rhythm and dynamism in abstract art.

IAN DAVENPORT (b. 1966, Kent, England) studied at Goldsmiths College of Art in London.  In 1988, he exhibited in the Damien Hirst-curated Freeze exhibition which first brought together many of the Young British Artists.  He was nominated for the Turner Prize in 1991.  Davenport has exhibited internationally over the past two decades, most recently in solo exhibitions in Geneva, and Saõ Paulo, and in group shows such including the Royal Academy, London (2015). His work is to be found in major collections worldwide, including the Tate, London; the Weltkunst Collection, Zurich; Arts Council Collection, London; Borusan Art Gallery, Istanbul; The British Council; Daimler Chrysler Collection, Stuttgart and the Dallas Museum of Art, Texas. Davenport’s first extensive monograph was published by Thames and Hudson in 2014. The artist lives and works in London.

Paul Kasmin Gallery, New York
www.paulkasmingallery.com

James Capper @ Paul Kasmin Gallery, New York

James Capper, Mountaineer
Paul Kasmin Gallery, New York
February 12 – March 14, 2015

James Capper

Mountaineer Tooth P, Mountaineer Tooth Q, Mountaineer Tooth M, 2015

Steel, 62.2 x 30.8 x 9.7 in/157.9 x 78.2 x 24.6 cm; 46.5 x 28.3 x 9.7 in/118.1 x 71.8 x 24.6 cm; 37.3 x 35.7 x 9.7 in/94.7 x 90.7 x 24.6 cm.

Courtesy of Damian Griffiths

Paul Kasmin Gallery announces the opening of Mountaineer, a solo exhibition of new sculptures and works on paper by London-based artist JAMES CAPPER, on view at 297 Tenth Avenue from February 12 – March 14, 2015. This is the artist’s first solo exhibition in the US and first with Paul Kasmin Gallery.

Mountaineer will feature a selection of imposing, welded-steel sculptures from the artists’ series of Mountaineer Teeth. Capper’s works follow the legacy of early Earthworks by Michael Heizer, Dennis Oppenheim and Robert Smithson whereby abstract changes to the land are reflective of human engagement with the environment. However, in Capper’s large-scale public installations this idea is accentuated by an emphasis on the role of man-made machinery’s affect on the landscape. The exhibition also includes several illustrative works on paper, which relate to the artist’s realized and theoretical “Earth-Marking” machines. In Cabs for Step Type Markers, 2012, alternating designs for a future mechanism are worked out in the artist’s characteristically loose, playful manner – adding a humanistic element to an otherwise industrial entity.

Over the last decade, Capper has created a population of his human-operated machines designed to interact with specific forms of natural terrain. They are often outfitted with interchangeable components, which allow for a variety of earth-markings to be left as evidence of such performative interactions. The ongoing evolution of these apparatus’ has been similarly chronicled in Capper’s recent solo exhibitions: Divisions, Yorkshire Sculpture Park, UK (2013) and Tools of the Trade, Hannah Barry Gallery, London (2015). Capper will unveil a new monumental machine later this year as part of a commission by the Cass Sculpture Foundation in Goodwood, UK.

JAMES CAPPER was born in 1987 in London. He received his B.A. in Sculpture from the Chelsea College of Art and Design and his M.A. from the Royal Academy of Art, London, where he was presented with the Jack Goldhill Award for Sculpture. Capper’s works have been included in recent important exhibitions at the Kunstlerhaus Bethanien, Berlin; The Moving Museum, Dubai; The Saatchi Gallery, London; and the Victoria and Albert Museum, London. He lives and works in London, UK.

Paul Kasmin Gallery
www..paulkasmingallery.com

Elliott Puckette, Paul Kasmin Gallery, New York - New Paintings

Elliott Puckette: New Paintings

Paul Kasmin Gallery, New York

September 5 - October 12, 2002

Paul Kasmin Gallery presents an exhibition of new paintings by ELLIOTT PUCKETTE. It is her first major New York exhibition in three years.

Elliott Puckette's work strikes a delicate poetic balance between painting and drawing. Her elegant compositions are conceived by an unique technique and a labor intensive process. Elliott Puckette first coats a wooden panel with many layers of gesso then applies a monotone wash of colored ink. She intimates an expansive space by dripping and pouring veils of color. She then articulates delicate curved lines that sweep over the surface. They are not painted but are deliberately subtracted by etching through the ink with a razor blade leaving scratch marks. These continuous intricate and interlacing lines often evoke musical notations or a calligraphic visual language. This most recent body of work is inspired by the billowing, celestial forms of Constable’s cloud studies and the baroque lines of Tiepolo's drawings.

Elliott Puckette lives and works in New York City. 

A fully illustrated catalogue 

with essay by Daisy Garnett 

accompanies the exhibition. 

PAUL KASMIN GALLERY

293 Tenth Avenue, New York, NY 10001

www.paulkasmingallery.com

Updated Post

Photography by Ron Galella at Paul Kasmin Gallery, NYC

PHOTOGRAPHY BY RON GALELLA
Paul Kasmin Gallery, New York
June 27 - August 2, 2002

" My idea of a good picture is one that's in focus and of a famous person doing something unfamous. Its being in the right place at the wrong time, that's why my favorite photographer is Ron Galella."

— Andy Warhol, Andy Warhol's Exposures, 1979.

Paul Kasmin Gallery presents the first major gallery exhibition of photographs by RON GALELLA in thirty years. The exhibition consists of 150 black and white vintage prints taken by Galella from 1960 - 1965. Ron Galella is America's greatest paparazzi photographer and was deemed "paparazzo extraordinaire" by Newsweek, featured on the cover of Life, and sued for harassment by Jackie Onassis. His candid snapshots of celebrities and artists including - Cher, Warhol, Sinatra and most notoriously, of Jackie, have become some of the most iconic and evocative images of popular culture.

The Photographs of Ron Galella, published by Greybull Press with foreword by Diane Keaton, introduction by Tom Ford, interview by Glenn O'Brien and edited by Steven Bluttal is currently available. In addition, The Andy Warhol Museum, Pittsburgh, presents a retrospective of Ron Galella's photographs, Off Guard: The Photographs of Ron Galella.

PAUL KASMIN GALLERY
293 Tenth Avenue at 27th Street, New York, NY 10001
www.paulkasmingallery.com

Nancy Rubins, Paul Kasmin Gallery, NYC

Nancy Rubins: Drawings
Paul Kasmin Gallery, New York
March 24 - April 21, 2001

Nancy Rubins, known primarily for her monumental, gravity-defying, towering sculptures of airplane parts, hot water heaters, mattresses and cakes, is one of the most innovative American artists working today. This exhibition at Paul Kasmin Gallery consists of nine of her drawings which are themselves, sculptural. Nancy Rubins' drawings engage the space which holds them; wrapping around or straddling corners, climbing to the ceiling and extending outwards from the wall up to three feet. 

Tacked to the wall with push pins, the three-dimensional works consist of large, irregular, torn sheets of heavy paper which twist and overlap each other. Heavy gestural marks cover the entire surface of the paper, building layers of graphite up to a high luster which resemble sheets of metal rather than paper. This labor-intensive process which is implicit in the creation of the drawings, exudes an energy, much like her sculptures. The scale of each work varies from small, single sheet drawings to monumental, multi-layered sheets that cover the entire wall of the gallery.

Nancy Rubins' drawings are in the collections of Museum of Modern Art, New York and the Museum of Contemporary Art, Los Angeles.

A catalogue will accompany the exhibition.

PAUL KASMIN GALLERY
293 Tenth Avenue @ 27th Street, New York
www.paulkasmingallery.com