The Hugo Boss Prize 2020: Deana Lawson, Centropy, a solo exhibition of Deana Lawson's work, is on view now at the Guggenheim Museum in New York through October 11, 2021. The exhibition is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, and Ashley James, Associate Curator, Contemporary Art.
In 2020, Lawson became the first photographer to receive the Hugo Boss Prize, a biennial award administered by the Guggenheim Museum that honors significant achievement in contemporary art and celebrates the work of remarkable artists whose practices are among the most innovative and influential of our time.
To learn more about Lawson's work, please visit The New York Times to read a major profile on the artist, which will also appear in the Sunday Magazine on May 9, 2021.
David Kordansky Gallery is pleased to announce an online solo presentation of new paintings and drawings by Tobias Pils at the Frieze New York 2021 Edition of Frieze Viewing Room, a virtual fair that will run May 5 – 14 alongside Frieze New York at The Shed.
In conjunction with Frieze Viewing Room, Pils and artist Michael Williams will discuss The Islands, Pils's new body of paintings on view in the presentation, on Thursday, May 6 at 11 AM PT / 2 PM ET / 8 PM CET. To attend the virtual talk (which will feature live closed captioning), please register here.
The Islands are the result of significant changes in Pils’s working methods and constitute the beginning of a major new addition to his material and visual vocabularies. Like all of his work to date, these paintings have been rendered in black, white, and shades of grey. But while Pils has previously painted on the floor—leaving the fronts of his surfaces unprimed—here, he has painted vertically on primed and stretched canvas supported by a large easel. The images themselves are developed first in preparatory sketches, so that their allegorical landscapes, fantastical beings, and indelible earthly and cosmological motifs emerge on the canvas with startling clarity. The paintings comprising The Islands are filled with scenes of creatures, humanoid and otherwise, that occupy their own delimited terrains—unique islands of vision and circumstance on which particular laws of nature and states of mind reign supreme.
In 2020, a large-scale installation of paintings by Tobias Pils (b. 1971, Linz, Austria) was inaugurated at Kunstmuseum Bonn, Germany, and a major fresco was installed at the Renzo Piano-designed campus of École normale supérieure Paris-Saclay, Gif-sur-Yvette, France. He has been the subject of solo exhibitions at the Josef Albers Museum, Bottrop, Germany (2017); Le Consortium, Dijon, France (with Michael Williams, 2017); Chinati Foundation, Marfa, Texas (2016); and Secession, Vienna (2013), among other institutions. Recent group shows include Picasso et la bande dessinée, Musée Picasso, Paris (2020); Jay DeFeo – The Ripple Effect, Aspen Art Museum, Colorado (2018); and Spiegelnde Fenster, 21er Haus, Vienna (2017). His work is part of the permanent collections of the Albertina Museum, Vienna; Kunstmuseum Bonn, Germany; and Le Consortium, Dijon, France, among other institutions. Pils lives and works in Vienna.
David Kordansky Gallery is proud to contribute to Frieze New York 2021's Tribute to the Vision & Justice Project, an organization dedicated to examining art’s central role in understanding the relationship between race and citizenship in the United States, and its founder, Sarah Elizabeth Lewis.
Now until May 14, through the duration of the fair and viewing room, our gallery will match up to $25,000 in donations to Summaeverythang Community Center, based in South Central Los Angeles. Founded by Lauren Halsey, Summaeverythang is dedicated to the empowerment and transcendence of Black and brown folks socio-politically, economically, intellectually, and artistically. Give today to support Halsey's center, soon celebrating its one year anniversary, and its inspiring example of how each of us can effect change by directly reaching out to the people around us.
Recognizing the devastating local effects of the COVID-19 pandemic, including unemployment and food insecurity, Halsey and her collaborators took action by developing—from scratch—systems to source, pack, and distribute now over 2,600 boxes of fresh, organic produce from Southern California farms each weekend to neighbors in Watts and South Central Los Angeles. Ever-responding and evolving, Summaeverythang has recently started providing healthy hot meals on alternate Fridays. These logistical efforts cost upwards of $24,000 each week, and are funded exclusively through sales of Halsey’s art, grants, and the donations requested and matched here.
Upon giving, please email your donation confirmation to email@example.com. We will gladly match donations received up to a total of $25,000 through May 14. Summaeverythang Community Center is a 501(c)(3) nonprofit. All donations are tax-deductible.
David Kordansky Gallery is pleased to announce a solo presentation of new sculptures and drawings by Huma Bhabha at Art Basel Hong Kong 2021 from May 19 through May 23. Art Basel Live: Hong Kong, a series of online viewing rooms, will run concurrently with the in-person show.
For over 25 years, Bhabha has been making objects, drawings, and other works that depict the strangeness and vulnerability of the contemporary figure. The drawings on view in this presentation depict heads animated by a wide range of moods, colors, and perspectival experiments. Rendered on supports that include collaged images of animals and etching proofs from Bhabha’s own printmaking practice, they are themselves hybrid objects. Beginning with the grounds on which the acrylic, ink, and pastel pigments are applied, and extending to the creatures that take shape on them, Bhabha allows the unpredictable forces of intuition to guide conversations with her creations.
Huma Bhabha (b. 1962, Karachi, Pakistan) has been the subject of solo exhibitions at institutions that include the BALTIC Centre for Contemporary Art, Gateshead, England (2020); Metropolitan Museum of Art, New York (2018); and MoMA PS1, Long Island City, New York (2012). Notable group exhibitions include NIRIN, the 22nd Biennale of Sydney (2020); Carnegie International, 57th Edition, Carnegie Museum of Art, Pittsburgh (2018); and All the World’s Futures, 56th Venice Biennale, Italy (2015). Bhabha’s work is in the permanent collections of the Centre Pompidou, Paris; Los Angeles County Museum of Art; and Hirshhorn Museum and Sculpture Garden, Washington, D.C. Bhabha lives and works in Poughkeepsie, New York.
大卫·柯丹斯基画廊很荣幸地宣布，将于2021年5月19日至23日香港巴塞尔艺博会期间，推出艺术家胡玛·芭芭（Huma Bhabha）的最新雕塑和绘画个展。伴随现场展览同时进行的是“巴塞尔线上展厅：香港”（Art Basel Live: Hong Kong），为观众带来一系列线上展览。
The Beatitudes of Malibu includes works by more than 40 artists and poets that respond to, depict, question, or are inspired by landscapes of all kinds. The exhibition borrows its title from a poem of the same name by Rowan Ricardo Phillips; in the poem’s eight parts, the poet engages in a series of encounters with natural, social, and aesthetic landscapes associated with Los Angeles, but also with the full spectrum of myths, narratives, and allusions these landscapes elicit. The Beatitudes of Malibu employs a similarly broad range of approaches to the landscape genre by bringing together artists whose paintings, drawings, sculptures, photographs, and poems are born of divergent—and often conflicting—legacies.
Among the highlights in this diverse, multi-generational exhibition are new and recent paintings by Sayre Gomez, Jennifer Guidi, Angel Otero, Hilary Pecis, Mary Weatherford, and Jonas Wood; historical paintings and drawings by Milton Avery, Nell Blaine, Charles Burchfield, Jane Freilicher, Miyoko Ito, Helen Lundeberg, Agnes Martin, Richard Mayhew, Millard Sheets, and Alma Thomas; and works by Huma Bhabha, Lauren Halsey, and Sky Hopinka that transcend traditional discipline distinctions.
A selection of poems by Gabriela Jauregui, Bob Kaufman, Ann Lauterbach, Rowan Ricardo Phillips, and Cedar Sigo will be included in a complimentary booklet published as part of the exhibition.
An exhibition of new sculptures by David Altmejd will be the Los Angeles-based artist’s first show at the gallery. Unfolding across the south gallery, four individual chambers will house sculptures depicting faces in various degrees of dematerialization, gradually dissolving visual signifiers of the recognizable human form. Navigating the space, visitors will be taken on a journey inspired by "The Fool's Journey" of the Major Arcana tarot cards—representing the stages and lessons of life—as the artist explores a psychedelic path to self-discovery and change.
Experiencing Altmejd's constructed universe will invite visitors to reflect inward, suggesting a way of being that prioritizes a detachment of consciousness from the body and the mind.
Moving West Again features new paintings by Sam Gilliam that continue the artist’s six-decade exploration of color and materiality. The exhibition includes various scales of Gilliam's signature Beveled-edge stretcher paintings, a typology of work dating back to 1967 and which demonstrates several striking formal advances. The new works are suffused with densely layered materials including tin and copper raw metals, sawdust and aluminum shavings, and pieces of socks sourced from Gilliam's studio. Gilliam flings, splatters, and throws this media onto the canvas, creating cosmic fields of color marked over by the artist's hand or scraped into by a garden rake.
Relentlessly experimenting with the conventions of painting, these new works are thick with rich white, yellow, and blue impasto, demonstrating Gilliam’s ability to compose lyrical depth from the stretched canvas on a beveled frame. This effect, which Gilliam has perfected over decades, makes it seem as if the painting itself is emerging from the wall on which it is hung.
David Kordansky Gallery is honored to announce the joint acquisition of a major early work by Sam Gilliam, the monumental installation Double Merge (1968), by Dia Art Foundation, New York, and the Museum of Fine Arts, Houston (MFAH).
Comprising two Drape paintings, both titled Carousel II (1968), Double Merge has been on long-term view at Dia Beacon since 2019. Before going on view at Dia, these canvases had never before been shown together in public. In 2022, Gilliam's Double Merge will travel to the MFAH and will rotate between the two institutions every five years, allowing for this important work to be consistently on view to the public in both New York and Texas.
"Sam Gilliam’s early experimentations with form and color have had a transformative impact on what we imagine painting and sculpture to be," said Jessica Morgan, Dia’s Nathalie de Gunzburg director. "Having Gilliam’s work on view at Dia Beacon over the last two years, alongside focused displays of work by many of his artistic peers, has expanded our audience’s understanding of this period of art history. Bringing Double Merge, the centerpiece of this display, into Dia’s permanent collection represents just the beginning of a rich and in-depth relationship with the artist, which will span exhibitions, public programs, and further scholarship on both Gilliam and this period overall."
"Over the last fifty years, Gilliam has established himself at the forefront of American abstraction. His groundbreaking investigations blur the boundaries between artistic disciplines, emphasizing the process, materiality, and dimensionality of painting and its display. We are delighted to partner with Dia Art Foundation in bringing this landmark acquisition into both of our collections," said Gary Tinterow, director, the Margaret Alkek Williams chair, MFAH.
To read more about the historic acquisition, please visit the Financial Times.
David Kordansky Gallery is pleased to announce its representation of Lucy Bull. Our first collaboration with the artist is an exhibition of new paintings, Skunk Grove, on view March 20 – May 1, 2021.
Bull’s paintings are visceral works that appeal directly to the senses. Synesthetic fields of shape and color, the paintings are described in sonic, tactile, or even emotional terms that evade rational logic and are unique to each viewer. As their formal attributes function as visual bait, the eye is drawn into the atmospheric spaces of their compositions before encountering a seemingly limitless number of associative openings. Worlds take shape across their varied surfaces and just as quickly fall away again; similarly, just when the act of looking generates optical overload or disruptive dissonance, Bull’s accumulations of marks reveal discernible traces of planning and hard-fought negotiations with her materials, leading the viewer back toward the concrete realities of pigment, medium, and surface. As she engages in these open-ended painterly experiments, Bull makes room for both precision and abandon, inviting viewers to participate in ever-unfinished processes of creation that she choreographs but never fully controls.
Lucy Bull (b. 1990, New York) has been the subject of solo exhibitions at High Art (Arles, 2020; Paris, 2019); Human Resources, Los Angeles (2019); Smart Objects, Los Angeles (2019); and RMS Queen Mary, Mother Culture, Long Beach, California (2017). Recent group exhibitions include Life Still, CLEARING, New York (2020); I Want to Eat the Sunset. We’re Talking About the Cosmos, Even. And Love, I Guess, Almine Rech, New York (2020); and El oro de los tigres, Air de Paris, Romainville, France (2020). Her work is in the collection of the ICA Miami. Bull lives and works in Los Angeles.
David Kordansky Gallery is honored to welcome Derek Fordjour to the gallery. Fordjour makes paintings, sculptures, and installations whose exuberant visual materiality gives rise to portraits and other multilayered compositions. Born of both broad sociological vision and a keen awareness of the body’s vulnerability, Fordjour’s tableaux are filled with athletes, performers, and others who play key roles in cultural rituals and communal rites of passage. In his paintings, Fordjour methodically constructs the ground of each composition through a collage-based process involving cardboard, newspaper, and other materials and pigments. The varied and textural surfaces that emerge are as complex—and physically engaging—as the dynamic subjects that Fordjour inscribes on top, within, and through them. His ability to grapple with many strata of artmaking on physical, conceptual, and straightforwardly human terms alike allows his project to communicate the widest possible array of emotions, from celebration and ecstasy to melancholy and lamentation. This, in turn, allows Fordjour to connect to audiences inside and outside of traditional art venues.
A major, new painting by Fordjour will be the subject of an upcoming One-on-One online exhibition at DavidKordanskyGallery.com in April 2021. A solo exhibition at David Kordansky Gallery will follow in spring 2022.
In 2020, Derek Fordjour (b. 1974, Memphis, Tennessee) was the subject of a solo exhibition at the Contemporary Art Museum St. Louis. In 2018, commissions for the Whitney Museum of American Art Billboard Project and the Metropolitan Transit Authority Arts & Design program resulted in significant public projects in New York. Recent group exhibitions include 100 Drawings from Now, The Drawing Center, New York (2020); Plumb Line, California African American Museum, Los Angeles (2019); and Reclamation!, Taubman Museum of Art, Roanoke, Virginia (2019). His work is in the public collections of institutions including the Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; Dallas Museum of Art; Pérez Art Museum Miami; Nasher Museum of Art at Duke University, Durham, North Carolina; Whitney Museum of American Art, New York; and The Studio Museum in Harlem, New York. Fordjour was the Spring 2020 Alex Katz Chair in Painting at The Cooper Union, New York, and currently serves as a Core Critic at the Yale School of Art, New Haven, Connecticut. He lives and works in New York.