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DTSTART;VALUE=DATE:20190523
DTEND;VALUE=DATE:20190630
DTSTAMP:20260427T165319
CREATED:20190529T181733Z
LAST-MODIFIED:20190529T181733Z
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SUMMARY:James Nares: Monuments
DESCRIPTION:Kasmin is pleased to present an exhibition of James Nares’ newest body of work\, entitled Monuments\, on view at 509 West 27th Street between May 23 – June 29\, 2019. \nNew York City’s oldest surviving downtown sidewalks were made almost 200 years ago by immigrant masons who lined the streets with giant paving stones of solid granite. These monolithic slabs they then chiseled with improvised marks and designs\, to prevent pedestrians from slipping. These carvings have withstood the erosion of time and foot traffic\, leaving a record of free thought and personal markings from the hands and minds of long-forgotten workmen. \nNares made wax frottage rubbings of selected stones and brought them back to his studio where he gilded them with 22-carat gold. Hanging vertically on the wall\, they are shining monuments to whom he calls\, “the unknown souls whose touch still lingers on the city’s sidewalks.” \nContinuing Nares’ lifelong investigation into motion\, time and gesture —the “central conceits of Nares’ artistic production”1—these works register the topography of the city which has acted as protagonist and collaborator throughout his oeuvre\, notably in films such as Ramp (1976) and STREET (2011). Tracing the materiality of lower Manhattan\, where Nares has lived and worked since the 1970s\, the works spotlight immigrant labor and its integral place in the fabric of the city. \nABOUT JAMES NARES\nOver the course of a five-decade career\, Nares has investigated\, challenged\, and expanded the boundaries of his multimedia practice that encompasses film\, music\, painting\, photography\, and performance. He continues to employ various media to explore physicality\, motion\, and the unfolding of time. \nThis summer\, the Milwaukee Art Museum will show a major retrospective\, Nares: Moves. The artist has been the subject of solo exhibitions at\, among others\, the Metropolitan Museum of Art\, New York; the National Gallery of Art\, Washington\, D.C.; and Alte Oper\, Frankfurt. Nares is included in several prominent public collections\, including the Albright-Knox Gallery\, Buffalo\, NY; The Metropolitan Museum of Art\, New York; Museum of Modern Art\, New York\, and the Whitney Museum of American Art. A career-spanning survey of his film and video works were presented in 2008 at Anthology Film Archives\, New York; and in 2011 at IFC Center\, New York. In 2014\, Rizzoli published a comprehensive monograph on Nares’ career to date. Nares has lived and worked in New York since 1974. He has been represented by Kasmin since 1991. \n1 Marcelle Polednik\, PhD\, Donna and Donald Baumgartner Director. Excerpted from “James Nares: Motion Pictures” from the exhibition catalogue “Nares: Moves\,” Milwaukee Art Museum.
URL:https://artinamericaguide.com/event/james-nares-monuments/
LOCATION:Kasmin Gallery\, 509\, 509 W 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190516
DTEND;VALUE=DATE:20190630
DTSTAMP:20260427T165319
CREATED:20190529T181025Z
LAST-MODIFIED:20190529T181025Z
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SUMMARY:Brancusi: The Photographer
DESCRIPTION:“Photography is the form in which Brancusi speaks about his sculpture.”—Friedrich Teja Bach \nKasmin is pleased to announce Brancusi: The Photographer\, organized in collaboration with Bruce Silverstein Gallery. The exhibition will be on view at 293 Tenth Avenue between May 16 – June 29\, 2019\, presented concurrently with Brancusi’s Flowers at Bruce Silverstein Gallery\, on view at 529 West 20th Street. \nBrancusi: The Photographer brings together 25 rare vintage gelatin silver prints spanning two decades that illuminate the significance of photography in the artist’s oeuvre. In 1921\, Brancusi began to committedly pursue photography\, influenced by his friendship with Man Ray\, whose guidance on the technical elements of medium and mastery of the darkroom strengthened Brancusi’s command of the practice. This collaborative dialogue between the two artists led to numerous technical and artistic innovations within and beyond the photographic medium. \nAside from their inherent indexical nature\, Brancusi’s photographs reinforce the artist’s intentions for his sculptures. Taken in the intimate\, atmospheric environment of his carefully orchestrated studio design at the Impasse Ronsin in Paris\, many of the works in the exhibition depict assemblages comprised of Brancusi’s most celebrated sculptures\, found objects and material fragments. They demonstrate the artist’s investment not only in the sculptures as individual entities but also in their relationship to one another in the context of a synthesized tableau. These ‘group mobiles’ create narrative juxtapositions amongst the rooms’ dramatic pitches of light and shadow\, allowing Brancusi to emphasize salient elements of his work and recontextualize their forms. \nAn indelible\, recurring subject in Brancusi’s photographs is his magnum opus\, the Colonne sans fin (Endless Column). Different iterations of the sculpture are photographed while installed in Brancusi’s studio\, at Târgu Jiu in Romania\, and in Edward Steichen’s garden at Voulangis in France. Often positioning the camera at the base of the sculpture looking up\, Brancusi’s photographic works on Endless Column accentuate the sublime nature of the sculpture while also documenting the site-specificity of its myriad installations.
URL:https://artinamericaguide.com/event/brancusi-the-photographer/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190509
DTEND;VALUE=DATE:20190630
DTSTAMP:20260427T165319
CREATED:20190529T181452Z
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SUMMARY:Jasper Morrison: Corks
DESCRIPTION:Kasmin is pleased to announce the US representation of internationally acclaimed designer Jasper Morrison. Morrison’s first solo gallery exhibition in North America\, Corks\, will go on view at Kasmin’s 297 Tenth Avenue space between May 9 – June 29\, 2019. \nThe exhibition puts on view Morrison’s first complete series of furniture realized in cork. As limited editions\, these pieces mark a departure from the designer’s usual methods of industrial production and initiate a new collaborative partnership that speaks to Kasmin’s continued engagement with presenting boundary-pushing work at the intersection of art and design. A domestic exhibition design will bring together examples of Morrison’s chaise longue\, a fireplace\, chairs\, stools\, and bookshelves. \nMorrison’s interest in cork stems from its remarkable functionality as well as its unique atmospheric qualities\, which he recognizes as a key design component of an object’s long-term success. Developed by the cork oak tree as a protective covering\, this particular iteration of the material is reconstituted from unselected wine bottle corks\, some still visible in their original shape. \nHis designs have long been the domestic choice of creative professionals\, whilst simultaneously populating public art spaces and institutional settings. In 2014\, he designed the furniture for the extension to Tate Modern\, more than ten years after working on the opening of the museum with the architects Herzog & de Meuron\, and in 2009\, he was invited by the Musée des Arts Décoratifs de Bordeaux to create an interventional installation of his contemporary designs interwoven within the historical collections. \nWork by Jasper Morrison is included in significant international collections such as Museum of Modern Art\, New York; Cooper Hewitt Smithsonian Design Museum\, New York; Centre Pompidou\, Paris; V&A Museum\, London; Design Museum\, London\, Musée des Arts Decoratif\, Paris; Vitra Design Museum Collection\, Weil am Rein; M+\, Hong Kong; and many more.
URL:https://artinamericaguide.com/event/jasper-morrison-corks/
LOCATION:Kasmin Gallery\, 297\, 297 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190504T160000
DTEND;TZID=America/Halifax:20190504T180000
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SUMMARY:Closing Event for Naama Tsabar: Dedicated
DESCRIPTION:Melodies of Certain Damage (OPUS 4) \nTsabar and a group of female musicians will explore a new vocabulary of movement and sound\, culminating in a performance with Tsabar and her collaborators on the exhibition’s closing night\, May 4\, between 4-6pm. This will be her first performance in New York City since 2017. \nWith the works installed in the gallery\, each Melody is plugged into one of the Transition canvases\, works that Tsabar has repurposed the internal and external components of the amplifier—wires\, speaker\, circuit board—to create a new formal visual experience whilst retaining the object’s ability to broadcast sound. Tsabar then invites a group of female musicians to collaboratively compose a unique composition on the sculptures. Activating the Melodies requires the performers to insert their bodies\, either sitting or lying\, into the spaces between the fragments. By dispersing the centralized phallic order of the objects and the position of the body in relation\, Tsabar and the performers assume the reclining physical position as an act of sensual\, creative and non-hierarchical power. \nThe collaborators performing are: \nRose Blanshei\nRosana Caban\nTaja Cheek\nFrederique Gnaman\nSarah Strauss\nNaama Tsabar \nPerformances will be held at 4pm and 5pm. RSVP is essential. To secure space\, please email events@kasmingallery.com
URL:https://artinamericaguide.com/event/closing-event-for-naama-tsabar-dedicated/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190321
DTEND;VALUE=DATE:20190519
DTSTAMP:20260427T165319
CREATED:20190409T211726Z
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SUMMARY:Sheer Presence: Monumental Paintings By Robert Motherwell
DESCRIPTION:
URL:https://artinamericaguide.com/event/sheer-presence-monumental-paintings-by-robert-motherwell/
LOCATION:Kasmin Gallery\, 509\, 509 W 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190314
DTEND;VALUE=DATE:20190428
DTSTAMP:20260427T165319
CREATED:20190409T211426Z
LAST-MODIFIED:20190409T211426Z
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SUMMARY:David Wiseman: Plants\, Minerals\, And Animals
DESCRIPTION:Kasmin is pleased to present a major exhibition of new work by artist and designer David Wiseman (b. 1981). Plants\, Minerals\, and Animals is Wiseman’s first solo presentation at the gallery and will be on view at 515 West 27th Street between March 14 – April 27\, 2019. Bringing together designs conceived and forged in the artist’s Los Angeles studio over the course of the last fifteen years\, the exhibition acts as a culmination of Wiseman’s career thus far. \nWiseman’s work draws inspiration from his fascination with the natural world\, global decorative arts traditions\, and a reverence for honoring timeless craft techniques. Far from reproducing historic design\, however\, he breathes new life into interiors and environments. Porcelain cherry blossom ceilings\, bronze patterned filigree folding screens\, and polished marble and terrazzo inlay furniture affirm and perpetuate the relevance ornament and beauty can play in contemporary architecture and life. \nRooted in an imagined world of drawing\, Wiseman’s creations blossom outward from the page to become sculpture. A deep respect for process\, cultivated during his studies at the Rhode Island School of Design\, demands that Wiseman is intensely involved in every aspect of the production from the initial sketches to bronze casting\, porcelain sculpting\, firing and glazing\, and handmade terrazzo\, all of which happen in the studio in an organic flurry of activity. \nMany of the works are developed with Wiseman working on instinct to configure the pieces by drawing from an encyclopedic collection of prior-made casts formed from the natural world and sculpted forms. Acting as an index of Wiseman’s vocabulary and interest\, Five Panel Screen (2018)\, a large bronze folding screen\, collages nature in varying degrees of abstraction: microscopic forms transmute into sea waves that meld into a trellis of macrame rope\, held together by patterns inspired by traditional Japanese drawings. Lost Valley Mirror (2019)\, an impressive standing mirror\, features a sleeping Capuchin-like monkey resting on its peak\, is framed by a slender twisting tree trunk—an imagined hybrid that integrates several plant and fungi species from Wiseman’s native Los Angeles. \nElsewhere in the exhibition\, Cloud Garden Canopy (2019)\, a ceiling-mounted light sculpture\, depicts an inverted bed of delicately crafted porcelain and dramatic rock crystal. It hangs above the Large Lattice Vortex Dining Table(2019)\, a new design realized in bronze and glass that employs the organic hexagonal and pentagonal patterns that recur as motifs throughout the exhibition. These abstracted forms\, simultaneously surface and structure\, are balanced by the figuration of works such as Bowerbird Table (2019)\, which takes the eccentric Western New Guinea species as its starting point and reimagines the bird’s mating ritual of collecting forest treasures. Playfully including trinkets that could be gathered from within the studio—a sterling silver frog\, blackberries\, seed pods\, geraniums\, and jali patterns—the work demonstrates both the startling intricacy and devotion to nature that combine to characterize Wiseman’s practice.
URL:https://artinamericaguide.com/event/david-wiseman-plants-minerals-and-animals/
LOCATION:Kasmin Gallery\, 515\, 515 W 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190313
DTEND;VALUE=DATE:20190505
DTSTAMP:20260427T165319
CREATED:20190409T211104Z
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SUMMARY:Naama Tsabar: Dedicated
DESCRIPTION:Naama Tsabar employs performance\, sculpture\, and photography to subvert the gender roles historically associated with musicianship. In her second exhibition at Kasmin\, Dedicated\, Tsabar further explores these themes by expanding the borders of movement of the female body. For the duration of the exhibition\, Tsabar and a group of female musicians will explore a new vocabulary of movement and sound\, culminating in a performance with Tsabar and her collaborators on the exhibition’s closing night\, May 4\, between 4-6pm. This will be her first performance in New York City since 2017. \nThe exhibition presents three bodies of work that weave together iconic actions and objects from rock music with a more intimate portrayal of the artist’s body and its movement through\, within\, and into the surrounding architecture. Tsabar transforms the gallery space into a site-specific sculptural and sonic installation featuring the broken remains of guitars on the floor\, Melodies of Certain Damage\, connected to the wall-based canvases\, Transitions\, that double as amplifiers. In a series of adjacent photographs\, a female body penetrates and intertwines with walls in the artist’s studio. The motifs of femininity\, gender\, disruption\, destruction\, and reconstruction recur throughout the exhibition. Melodies of Certain Damage takes as its starting point the moment after the climatic break of the electric guitar. By attending to the aftermath\, rather than the destructive act itself\, Tsabar interrogates structures of power\, and reworks the violent act into a new sculptural and performative order. In the quiet of her studio\, Tsabar smashes the bodies of the guitars\, and\, engaging a Dada-esque sense of randomness and play\, maps out the broken pieces where they fall\, affixes the shattered parts to the floor\, and then attaches new strings to reinstate the sculpture’s musical functionality. \nWith the works installed in the gallery\, each Melody is plugged into one of the Transition canvases\, works that Tsabar has repurposed the internal and external components of the amplifier—wires\, speaker\, circuit board—to create a new formal visual experience whilst retaining the object’s ability to broadcast sound. Tsabar then invites a group of female musicians to collaboratively compose a unique composition on the sculptures. Activating the Melodies requires the performers to insert their bodies\, either sitting or lying\, into the spaces between the fragments. By dispersing the centralized phallic order of the objects and the position of the body in relation\, Tsabar and the performers assume the reclining physical position as an act of sensual\, creative and non-hierarchical power.
URL:https://artinamericaguide.com/event/naama-tsabar-dedicated/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190307
DTEND;VALUE=DATE:20190505
DTSTAMP:20260427T165319
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SUMMARY:Jan-Ole Schiemann: A Different Pose
DESCRIPTION:Kasmin is pleased to present A Different Pose\, the gallery’s first solo exhibition of new paintings by Cologne-based artist Jan-Ole Schiemann. Schiemann’s paintings are grounded in both gestural abstraction and the history of 20th-century animation\, aspects that combine to imbue his work with a rare sense of kinetic energy. Half-formed\, simultaneously disappearing and reappearing shapes suggest that somewhere amidst the lines\, there are figures tumbling\, colliding\, or fighting obscured by clouds of smoke. As a result of Schiemann’s meticulous\, layered application of charcoal\, oilstick\, ink and acrylic\, the works have the illusion of both a sculptural and a digital depth. The artist’s first solo exhibition at Kasmin will be comprised of new medium-scale and monumental paintings\, as well as the debut of a new series of works on paper. \nSchiemann’s process begins with the collection of references—cut-outs from cartoon strips\, elements from his own drawing process—which the artist then collages onto transparencies and projects against the canvas. Using primarily ink on the unprimed surface\, Schiemann uses sweeping gestures to build the dynamic base of the picture plane before moving on to more precise\, illustrative detailing. The works are then built up to fruition carefully\, introducing exuberant color and spontaneity as Schiemann reimagines the projected configurations. \nThe series of works on paper demonstrates Schiemann’s commitment to drawing\, and its fundamental place in his oeuvre. Appearing as a consolidation of fragments of many sketches bought together into balanced coherence\, the works give further insight into Schiemann’s process and highlight the strength of his forms. \nJan-Ole Schiemann has mounted solo shows recently at CHOI&LAGER Gallery\, Seoul\, South Korea (2018); Nino Mier Gallery\, Los Angeles (2017\, 2015) and Half Gallery\, New York\, (2015). Schiemann was also included in curated exhibitions such as Cliché\, Almine Rech Gallery\, New York (2018); Abstract/Not Abstract\, curated by Jeffrey Deitch and Larry Gagosian\, Moore Building\, Miami (2017); Prinz – the Ghosts are Outside\, Kreuzberg Pavilion\, Berlin (2015); and 17 Abstract Paintings\, Warhus Rittershaus\, Cologne (2014) amongst others.  He is a graduate of the Kunstakademie Düsseldorf under Albert Oehlen and Andreas Schulze (2007-2013) and currently lives and works in Cologne\, Germany.
URL:https://artinamericaguide.com/event/jan-ole-schiemann-a-different-pose/
LOCATION:Kasmin Gallery\, 297\, 297 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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