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Leon Kossoff London Drawings at Timothy Taylor New York

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Leon Kossoff, Street in Willesden No. 2, 1982. Charcoal and pastel on paper. Courtesy the artist and Timothy Taylor, London/New York, left; Leon Kossoff, Train by Night No. 3, 1990. Charcoal and pastel on paper. Courtesy the artist and Timothy Taylor, London/New York. , right.

Tomorrow night, Timothy Taylor is holding an opening in New York for his new show of Leon Kossoff drawings. The show is called Leon Kossoff: Everyday London. The show will be up from March 29 – May 24, with an opening reception on Thursday, March 28 from 6 to 8 pm. Here’s an excerpt from the release:

Timothy Taylor, New York is pleased to present an exhibition of fifteen Leon Kossoff drawings selected from the artist’s studio.  Spanning 60 years, each work exists as a contemporary snapshot, recording the pulse of everyday London.

The exhibition offers a retrospective view of the artist’s most well known subjects, capturing subtle glimpses into the nuances of his city from 1952 to 2012. In sweeping, seemingly spontaneous charcoal compositions, Kossoff presents a life in London; the movement of urban dwellers and the fabric around which their lives are defined. Views of Christ Church, 1992, King’s Cross Building Site Early Days, 2003, and Arnold Circus,2008-2012, have become Kossoff’s classic landscapes, while the implied commuters in Train by Night, 1990, Inside Kilburn Underground Booking Hall Summer No.2, 1983, and The Flower Stall, Embankment Station, 1994, are his unseen ghostlike subjects.

Ropac Has Longo, Rosenquist and Castoro at Frieze LA

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Galerie Thaddaeus Ropac is bringing a selection of works to Frieze LA including this Rosemary Castoro, above, work on offer for $200,000.

  • Rosemarie Castoro, a pioneer in the context of Minimalism and Conceptualism and a central figure in the 1960s New York avant-garde, is represented with one of her exceptional early paintings Orange Ochre Purple Yellow Y (1965). Long overshadowed by her male peers, Castoro is a revelation to today’s audiences. Her first museum retrospective was at MACBA in 2017 and her solo show at Ropac Paris opens on 21 February.

Other featured artists include Irving Penn, Robert Longo with a new work specifically for this fair, Jack Pierson and Tom Sachs. There will also be new works by Ali Banisadr, Marc Brandenburg, Alex Katz, Imi Knoebel, Jason Martin and David Salle, alongside historic works by Joseph Beuys, Rosemarie Castoro, Robert Rauschenberg, James Rosenquist and Andy Warhol, among others.

  • A rare, sought-after silkscreen portrait of Georgia O’Keeffe (1980) by Andy Warhol, which has been housed in private collection for three decades, commemorates the historic meeting in 1979 between the Pop superstar and the doyenne of American modernism then in her 90s.
  • Robert Longo’s monumental, larger-than-life Untitled (Harley Davidson) (2018) was created specially for the fair, using charcoal striations to convey the motion blur of a vehicle travelling at high speed.
  • In James Rosenquist’s major work Hot Sauce (2005), a plate of spaghetti against the backdrop of an exploding atom bomb.

Phillips to Open “American African American” Selling Exhibition in New York

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New Year, new selling exhibition. Phillips starts the off season in New York with a selling exhibition of African American artists. During the November sales season at Phillips a steady stream of African Americans visited the pre-auction exhibition of works posing for selfies in front of works by Jean-Michel Basquiat and KAWS. The KAWS painting Untitled (Fatal Group), which depicts characters inspired by Bill Cosby’s Fat Albert cartoon show, went on to surprise almost everyone when it set a record for the artist at $2.7m or three times the high estimate of $900k.

This new exhibition will feature works by Charles Alston, John Outterbridge, Romare Bearden, Betye Saar, Fred Wilson and Cameron Welch. Kehinde Wiley’s Passing/Posing: Jean de Carodelet (2004) pictured above is among the paintings on offer. Here’s Phillips release on the show:

Phillips is pleased to announce the major exhibition AMERICAN AFRICAN AMERICAN. Open to the public from 10 January to 8 February, the exhibition will kick off 2019 at Phillips New York galleries. Curated by Arnold Lehman, Phillips’ Senior Advisor and Director Emeritus of the Brooklyn Museum, the 2019 exhibition in New York continues the important mission of a similar exhibition organized in 2017 by Lehman in London, which took a closer look at the art historical and social impact of the 26 African American artists featured. In conjunction with the exhibition, Phillips will host a panel discussion on 14 January with Arnold Lehman in conversation with Brooklyn curator Ashley James, writer, critic and artist Deborah Willis, and Sandra Jackson-Dumont, chair of education at the Metropolitan Museum of Art and formerly of the Studio Museum. The discussion will focus on the artistic changes and social implications from the 1960s to today as seen through the lens of both the Tate’s exhibition Soul of a Nation, currently on view at the Brooklyn Museum, and AMERICAN AFRICAN AMERICAN.

Covering the period of 1950 to today with over 60 artists, “AMERICAN AFRICAN AMERICAN — likely the largest selling exhibition of African American artists to date — clearly articulates the increasing and exceptional importance of African American art and artists within the art historical canon. It gives proper recognition to these extraordinary artists of the mid-20th and early 21st centuries alongside their contemporaries,” said Arnold Lehman. “The considerably smaller 2017 exhibition in London was met with a great deal of enthusiasm from collectors and the general public alike, and we are delighted to have the opportunity to bring a much broader cross-section of these amazingly talented artists to collectors and exhibition visitors from New York and beyond.”

Master Drawings Showcased in Manhattan in Late January

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Clockwise from upper left: Robert Simon Fine Art: Anthony Baus, Ruins of the Mithraic Mysteries, 2018;  Findlay Galleries: Childe Hassam, The Willow and the Bather; Hazlitt: Biagio delle Lame, Venus at the forge of Vulcan, asking for arms for Cupid; James Mackinnon: Henry Moore, The Artist’s Hands; Thomas Deprez: Frantz Charlet , Self-portrait of the artist

Master Drawings New York has offered a preview of some of the works that will be on view at galleries on the Upper East Side of Manhattan beginning January 26th. The event highlights 30 dealers ranging from Stephen Ongpin to Guy Peppiatt:

The event takes place from Saturday, January 26th through Saturday, February 2nd on Manhattan’s Upper East Side. Some of the most influential names in the business, some exhibiting for the very first time, are dedicated to drawings, paintings, watercolors, sculpture and oil sketches from the 14th to the 21st centuries.

Now in its 13th year, the annual week-long event presents an exciting showcase of concurrent pop-up gallery exhibitions by visiting dealers from London, Paris, Madrid, Amsterdam, Brussels and Vienna, and special presentations mounted in private gallery spaces by top New York specialists. These take place in galleries mostly along Madison Avenue on Manhattan’s Upper East Side.

Last year, MDNY expanded its reach to feature paintings and sculpture and offered collectors, curators and art lovers a spectacular selection of works presented by a broader range of specialist dealers. This has been even further strengthened in quality with some top names joining for the first time. They are Ambrose Naumann Fine Art (New York), Galerie Kugel (Paris), Jack Kilgore (New York), Leon Tovar (New York), Robert Simon (New York), Mark Brady (New York), Stuart Lochhead (London), Hazlitt (New York/London), Thomas Deprez Fine Art (Belgium), Pavel Zoubok (New York), Jeroen Jurjens (Amsterdam), Benjamin Proust (London).

Venus Over Manhattan Brings Maryan Personnage Paintings to Art Basel in Miami Beach

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Venus Over Manhattan announce their Art Basel Miami Beach exhibition of Maryan’s “Personnage” paintings from his time in New York in the late 1960s and early 1970s:

Venus Over Manhattan is pleased to announce its inaugural presentation at Art Basel Miami Beach, with a solo presentation of important paintings by Maryan. The exhibition will be on view from December 5th through 9th, 2018, at booth S5 at the Miami Beach Convention Center.

Venus’ presentation at ABMB will be a focused survey of Maryan’s “Personnage” paintings from 1967-1972. They include large-scale works on canvas and an important suite of works on paper. Maryan began exploring the “Personnage” series while living in Paris in the 1950s. Characterized by a centrally located figure dominating the composition, the works quickly established Maryan’s reputation for using abstract techniques to render boisterously figurative subject matter. The paintings made in Maryan’s Paris years feature somber characters cast against subdued color palettes. It wasn’t until Maryan’s relocation from Paris to New York in 1963, that the “Personnage” works transition from dark to color and action filled: a clear reflection of the artist’s renewed outlook.

At a moment when non-representational painting dominated popular tastes, Maryan’s work rejected total abstraction, and helped to reintroduce the figure into contemporary painting, alongside his peers Karel Appel, Enrico Baj, and Jean Dubuffet. The works on view, produced in New York between 1967 and 1972, feature a group of lurid and fleshy characters, adjoined with extra legs, strange appendages, and slobbering tongues. Variously depicting anonymous tangles of excess limbs, bestial figures, and salivating animals, the works attest to Maryan’s abiding interest in disassembling familiar features of the human form to produce confrontational and often violent compositions.

Born Pinchas Burstein to a Jewish family in Nowy-Saçz, Poland, Maryan was the only member of his family to survive the Holocaust. He lived in Israel for two years after the war, and moved to Paris in 1951, where he enrolled at the École des Beaux-Arts, and studied under Fernand Léger. Though he denied the reduction of his work to his trauma as a Holocaust survivor, Maryan’s private life and artistic practice were deeply influenced by his experience of the war: his works from the “Personnage” series often make reference to an unnamed violence, whose source remains hidden. The “Personnage” works collectively represent the most striking realization of Maryan’s unprecedented fusion of abstraction and figuration, and with little exception, the series consumed the artist until his death at the Chelsea Hotel, in 1977.

In conjunction with the presentation, Venus Over Manhattan will also publish a small catalogue featuring images of the works on view, as well historical writings about Maryan’s work.

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