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DTSTART;TZID=America/Halifax:20190501T080000
DTEND;TZID=America/Halifax:20190527T170000
DTSTAMP:20260815T152027
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SUMMARY:Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May
DESCRIPTION:Opening at Frieze New York\, May 1 – 5\, 2019\,\nAnd in a Concurrent Exhibition at the Gallery’s Primary Space in Chelsea\, May 2 – 27\, 2019 \nKnox Martin: Radical Structures to Include New Work by the Prolific 96-Year-Old Artist \nThis May\, Hollis Taggart will present an in-depth exploration of the work of acclaimed artist Knox Martin\, with a solo presentation at Frieze New York and a concurrent solo exhibition at its primary location in Chelsea. Martin’s practice\, which spans nearly seven decades\, has engaged with the conceptual and aesthetic underpinnings of a wide range of artistic movements\, from Cubism to Abstract Expressionism to Pop Art. His use of bright swaths of color\, precise\, architectural lines\, and organic forms that reference the female body have resulted in energetic and vibrant compositions that speak to a visual vocabulary that is entirely his own. \nFor the upcoming edition of Frieze New York\, Hollis Taggart will present a focused selection of paintings\, from the 1950s through the 1970s\, providing an introduction to the artist’s early works. To foster a broader understanding of Martin’s practice\, the gallery will also open Knox Martin: Radical Structures at its 521 W. 26th Street space on May 2\, 2019. The exhibition at the gallery will emphasize in particular Martin’s paintings from the 1960s and 1970s\, and also include several later works\, among which are two new paintings created by the 96-year-old artist in 2019. Knox Martin: Radical Structures will be on view through May 27\, 2019. \nAfter serving in WWII\, Martin enrolled in the Art Students League of New York\, where he studied from 1946 to 1950\, alongside Robert Rauschenberg\, Cy Twombly\, and Al Held\, and later became an instructor. Despite the popularity of Abstract Expressionism\, Martin’s early work of the 1950s challenged the stylistic drippings and splatters of his contemporaries\, and began the singular exploration of figures and objects that would become a fundamental part of his oeuvre. His vision earned him his first solo exhibition at the influential Charles Egan Gallery in 1954\, and established him as a recognized member of New York’s inner art and social circles of the time. A mentor and contemporary to many well-recognized artists\, Rauschenberg once said of Martin\, “You are my mentor. For years I have always asked\, what would Knox think of my paintings?” \nInfluenced by the work of Cezanne\, Goya\, Matisse\, Picasso\, and Willem de Kooning\, Martin’s early paintings were textural explorations\, rendered predominantly in black and white and through the use of bold brushstrokes and geometric lines—as seen in Susanna and the Elders (1953). In an early review\, The New York Times categorized this work as containing a “particular intensity\, both visceral and sensational.” In the 1960s and 1970s\, Martin began a thematic and aesthetic evolution\, best exemplified through his newfound use of color and a growing interest in the female form\, which he juxtaposed with geometric patterns and other organic shapes. As seen in Razberri Breasts (c. 1970)\, Woman with Folded Hands (1973)\, Reclining Woman (1974)\, and Carmen Seated (1975)\, the female form is captured within the circular\, rectangular\, triangular\, disked\, and squared configurations of geometry. Clasped hands\, crossed arms\, bent knees\, and faces appear within all four corners of the \n\n\n\n\n\n\ncanvas\, creating a sensation of the body being locked in a moment of stillness within the surface plane. \nThese geometric metaphors were exhibited in the 1972 Whitney Annual at the Whitney Museum of American Art\, and in the Bonino\, Ingber\, Jack and I. Jankovsky galleries in New York between 1970 and 1978. With shades of blues\, pinks\, blacks\, yellows\, reds\, greens\, and whites\, in combination with dots\, flecks\, arcs\, ripples\, and stripes\, Martin was simultaneously able to create a sense of rhythm and stillness that exudes both playfulness and quietude. Art critic Arthur Danto said of Martin’s paintings\, “[they] were animated by certain internal conversations on the meaning of space\, surface\, painting\, pigment\, reference\, reality and illusion.” \nIt was also at this time that Martin began to receive public art commissions. This included several large-scale mural projects in New York City\, including Venus (original: 1970; remastered: 1998) which can still be partially glimpsed at the corner of 19th Street and 11th Avenue. Experienced in grand scale\, Martin’s use of lines\, curves\, and colors becomes all the more distinctive and complex. \nIn his more recent works\, Martin has returned to a focus on black and white. In one of his latest paintings\, U (2019)\, Martin uses the sharp contrast of black against white to focus on abstract symbols\, letters\, and typography. It is the repetition of the letter “U”\, each character slightly tilted and unequal in scale\, that creates a certain movement and vibration—a reinvention and exploration of form that is distinctly Martin’s. There is a feeling of simplicity\, but also of mathematical precision and complexity in Martin’s new work. It is particularly the use of white space that is most striking\, an absence that contains as much energy as the lettered forms themselves. \nMartin describes the use of white in his paintings as essential\, “everything that is art\, white circulates around it. It is the small spaces in between that fluctuate and provide substance. Without white\, there is nothing.” He also emphasizes the intuitive and instinctive process that has shaped the abstract conception and vision of his career\, “I never know where [the paintings] are going\, they tell me what to do.” \n— \nBorn in Barranquilla\, Colombia in 1923\, Knox Martin moved to New York City in 1927. Since his first solo exhibition in 1954\, solo exhibitions of Martin’s work have been presented widely both in the US and abroad\, including in France\, England\, Switzerland\, Canada\, Spain\, and Germany. His work has also been included in significant group presentations\, such as Some Paintings to Consider (Santa Barbara Museum of Art\, California\, 1964)\, Concrete Expressionism (New York University\, New York\, 1965)\, Large Scale American Paintings (Jewish Museum\, New York\, 1967)\, the Whitney Annual (Whitney Museum of American Art\, New York\, 1967 and 1972)\, Synthetic Realism (Gremillion & Co. Fine Art Inc.\, Houston\, 1986)\, Knox Martin: A Painting Exhibition Spanning a Number of Years (Lighthouse Museum\, Tequesta\, Florida\, 1999)\, Pan American Modernism: Avant- Garde Art in Latin America and the United States (Lowe Art Museum\, Miami\, 2013)\, and The Masters: Art Student League Teachers and their Students (The Art Students League of New York\, 2018). Martin’s work is held in over 40 museums and private collections worldwide. He has received prestigious grants and awards\, including most recently the Benjamin West Clinedinst Memorial Award and the French Legion of Honor. Martin has also led a distinguished career in teaching art\, including his years at Yale Graduate School of the Arts\, New York University\, University of Minnesota\, and The Art Students League of New York. \n\n\n\n\n\n\nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne)West. In summer 2015\, the gallery moved its primary location from the Upper East Side to Chelsea. In fall 2018\, it opened a newly renovated street-level location on W. 26th Street\, a private viewing and storage annex across the street\, and a project space at the High Line. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n### \nFor more information\, please contact:\nAlina Sumajin / Sascha Freudenheim\nPAVE Communications & Consulting alina@paveconsult.com / sascha@paveconsult.com 646-369-2050 / 917-544-6057
URL:https://artinamericaguide.com/event/hollis-taggart-to-examine-the-work-of-acclaimed-artist-knox-martin-in-two-solo-presentations-this-may/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Art Fair,Exhibition
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DTSTART;TZID=America/Halifax:20190404T180000
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SUMMARY:Hollis Heichemer: Happenstance
DESCRIPTION:On April 4\, Hollis Taggart will open its first exhibition of works by artist Hollis Heichemer at its Project Space at 507 W. 27th Street. Titled Happenstance\, the exhibition will include a selection of Heichemer’s vibrant abstract oil paintings\, produced between 2017 and 2019. Happenstance will also include several of the artist’s drawings\, marking the first time her works on paper will be publicly exhibited. An opening reception will be held on April 4\, from 6:00 to 8:00 PM\, and the exhibition will remain on view through May 4\, 2019.
URL:https://artinamericaguide.com/event/hollis-heichemer-happenstance/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190314T180000
DTEND;TZID=America/Halifax:20190413T180000
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SUMMARY:Norman Bluhm: The '70s
DESCRIPTION:Hollis Taggart is pleased to announce representation of the Estate of Norman Bluhm\, Abstract Expressionist painter (1921-1999). From his early richly-layered canvases to his more structured and vibrant later works\, Bluhm’s paintings are recognized for their compelling evocations of movement and energy. To mark the new collaboration\, Hollis Taggart will present an exhibition focused on Bluhm’s work from the 1970s at its primary Chelsea location at 521 W. 26th Street\, opening on March 14\, 2019. The exhibition\, Norman Bluhm: The ‘70s\, will be accompanied by an essay by the poet and art critic John Yau\, a long-time friend and advocate of Bluhm’s work. \n  \n“Norman Bluhm was an exceptionally gifted painter\, who showed extensively in New York and Europe throughout his career. Despite his artistic achievements\, Bluhm’s full creative trajectory has not garnered the critical evaluation and scholarship it deserves. With the upcoming exhibition—and the others that will follow—we look forward to bringing new audiences and attention to his work\, and in doing so\, supporting a more robust examination and understanding of the artists that participated in and propelled Abstract Expressionism and the movements that have followed\,” said Hollis Taggart. “We have shown Bluhm’s work in numerous group exhibitions over the years\, and are excited for the opportunity to examine and present his work more expansively and with greater focus on his particular vision and techniques.” \n  \nBluhm studied architecture at the Armour Institute of Technology (now the Illinois Institute of Technology) under Mies van der Rohe. Two weeks after Pearl Harbor in 1941\, he enlisted in the United States Army Air Corps and served as a B-26 pilot in World War II. Returning from war\, and no longer interested in architecture\, Bluhm briefly studied fresco painting in Florence. In 1947\, he moved to Paris to study at the Académie de la Grande Chaumière and the École des Beaux Arts under the G.I. Bill. While in Paris he formed relationships with a wide range of artists\, including Alberto Giacometti\, Antonin Artaud\, Sam Francis\, Jean Paul Riopelle\, and Joan Mitchell\, and began following his own artistic path. In 1950\, he married Claude Souvrain\, a French national who was herself a creative spirit. \n  \nHis early work in Paris consisted mostly of delicate line drawings\, depicting still lives\, cathedrals\, rooftops\, nudes and gestural semi-abstract heads. In the early 50s\, he began layering watercolors to create abstract landscapes and seascapes\, and worked with oil on canvas when he could afford it. \n  \nIn 1956\, with little left following the end of his marriage\, Bluhm moved to New York. The following year\, he held his first solo exhibition at Leo Castelli Gallery. During the late 1950s and into the 1960s\, Bluhm showed extensively in solo and group exhibitions in the U.S. and abroad\, and continued to experiment and push the boundaries of free-form expression within his work. In 1961\, he married his second wife\, Cary. \n  \nOver the next three decades\, Bluhm’s work would go through several critical transformations. In the 1970s\, the female form would come to dominate his aesthetic. Strong curving lines and organic forms coalesced with flat fields of color\, ranging from bright violets and pinks to vibrant reds and blues. The mixture of color and form\, along with a flattening of the surface plane\, produced strong sensations of movement\, suggesting in some instances a figure in the throes of metamorphosis and in others a violent collision of elements. “While Bluhm’s earlier works may be better known—perhaps because of their greater visual affinity to Abstract Expressionism—it is these powerful works of the 1970s that capture in particular Bluhm’s tremendous creative vision and capacity. For our first solo presentation of his work\, it seemed fitting that we highlight the aesthetic and conceptual impact and quality of these mid-career paintings\,” Taggart added. \n  \nIn 1969\, Bluhm and his family left New York City\, and a year later settled in Millbrook\, NY\, where they spent the next decade. Pop Art and the social networking of the New York art world pushed him further from the epicenters of activity and some of the acclaim his contemporaries achieved. He continued to show work throughout his life\, however\, and was especially respected in Europe where the tradition of painting remained important. \n  \nIn the 1980s and 1990s\, Bluhm continued to innovate. He incorporated decorative motifs and references to Asian and Indian art in his large-scale triptychs and multi-panel paintings. The last decade of his life he spent in Vermont. His steadfast commitment to gestural and expressive painting remained\, and was now reincarnated within an architectural structure. With every transition in his work he elevated the experience of emotion\, spirituality\, and passion inherent to his nature. \n 
URL:https://artinamericaguide.com/event/norman-bluhm-the-70s/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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