Kasmin Gallery ARTISTS EXHIBITIONS FAIRS NEWS VIEWING ROOM PRESS BOOKS VISIT EN 繁 简 PRESS Artist Naama Tsabar on destroying guitars and turning life into sculpture Financial Times November 26, 2021 Perimeters, which opens November 28, plays with the very borders of the museum’s architecture, as well as probing the limits of sound and sculpture, gender roles and human interaction — something which has been painfully absent during the pandemic. “When we emerged from those 18 months, everyone was talking about how online platforms and Zoom were the new normal,” Tsabar says. “But for me, it made me understand better how important our physicality is — that what makes us human is our personal interaction, those moments of intimacy, discovery and communication with other people.” View The Article PRESS ARCHIVE ARTISTS ▼ YEAR ▼ Naama Tsabar Wants Viewers to Challenge the Expected Museum Experience: ‘If You Push Your Own Boundaries You’re Rewarded’ ARTnews November 29, 2021 Sound travels through mysterious channels in Naama Tsabar’s latest exhibition, “Perimeters,” on view at The Bass in Miami through April 16. For the show, the Israeli-born, New York–based artist will occupy the museum’s galleries with new, site-specific iterations of four bodies of work. Tsabar’s art occupies an intersection of sculpture, performance, and architecture that will transform the museum itself into a playable instrument. Taken together, Tsabar hopes the simultaneous singing and strumming, spread throughout several rooms from her multiple works, will create a symphony of sorts. View The Article Naama Tsabar: ‘Shoes are kind of an underdog’ The Art Newspaper November 29, 2021 What viewers take away from it is never something I can fully control. So if the viewer finds themselves on the floor playing broken pieces that used to be a guitar and conforming their body to it, even if they don’t realise it in a conceptual or intellectual way, they are already engaging in an action that is subverting traditional viewership and the place of art within a museum, or even just the place of an instrument within the history of rock ‘n’ roll. View The Article New York art exhibitions to visit this winter Wallpaper* November 27, 2021 In ‘Normal Fault’, Roxy Paine’s 13 relief paintings and one of the artist’s distinctive dioramas explore the impact of humanity on the natural world, and the tragic disruption caused to its once finely balanced ecosystems. These new multimedia works comprise wood, resin, epoxy, and stainless steel, as well as mould, rock and sediment. Biological, geological, representational and abstract all at once, several of the works subtly depict the American flag (sprouting fungi in place of stars): a comment on the undeniable intersectionality of politics and the environment. View The Article Kasmin Now Represents Diana Al-Hadid, Sculptor Mining Ancient Histories to Reflect on Today ARTnews November 22, 2021 New York’s Kasmin gallery now represents Diana Al-Hadid, an artist whose sculpture-based practice looks to the histories of ancient civilizations as a way to process today’s most pressing issues. The gallery will present two new works by the artist in its booth at Art Basel Miami Beach week. She will continue to work with San Francisco–based gallery Berggruen and L.A.-based gallery Morán Morán. View The Article Inclusive Family: Elliott Hundley Interviewed by Osman Can Yerebakan BOMB October 11, 2021 The works are as large as my hands can reach when I stand in the middle. They’re inscribed with my activities. Even before making them, there are steps of going through the scraps and sorting them into trays. The collaging process is up close: I don’t step away. I work on many collages at the same time, so I walk around the studio. They form themselves organically in small vignettes. I cut out stuff all the time, then label and file them. Every day, I go through the piles and pick pieces based on a content or, in this show, the character. For the character of General, for example, I put a lot of porcelain imagery to reflect breaking and vulnerability, power but also fragility, like a bull in a china shop. View The Article A Rickey Renaissance The New Criterion October 20, 2021 In September the art historian and biographer Belinda Rathbone published George Rickey: A Life in Balance, the first biography of the sculptor. Shortly before, an outdoor installation, “George Rickey: Monumental Sculpture on Park Avenue,” went up featuring nine of the artist’s stainless steel constructions on the median between Fifty-second and Fifty-sixth Streets. At the same time, his gallery, Kasmin in Chelsea, installed three works—one comprising six individual sculptures—on the High Line directly above its gallery space, within which it is also showing seven smaller-scaled works. As it happens, all this has taken place against the backdrop of moma’s “Alexander Calder: Modern from the Start,” a show of works drawn mainly from its permanent collection that has afforded the opportunity to compare the two artists even as we have reacquainted ourselves with Rickey’s singular achievement. He enlarged and extended Calder’s innovation of the mobile and invented what I’ve long felt to be a perfect public art: intellectually rigorous yet warmly, even wittily, ingratiating; striking yet unobtrusive; at one with its surroundings even as it sets itself off from them. View The Article George Rickey Sculpture Magazine October 12, 2021 New York is currently celebrating George Rickey’s wind-driven, slow-moving sculptures with exhibitions at two different venues. Nine works stroll the Park Avenue mall, and three dance in the Kasmin Sculpture Garden next to Chelsea’s High Line, along with smaller works enlivening the indoor gallery. Each presentation (both on view through November 30, 2021) slows time in its own way, reminding us to pay closer attention to the attitudes suggested by various kinds of movement. View The Article Editors' Picks: 11 Events for Your Art Calendar This Week artnet news October 11, 2021 Kasmin presents Liam Everett’s second solo show with the gallery upon his recent addition to their roster. The show consists of eleven large-scale abstract paintings, made upon his recent move to Northern-California. The artist draws inspiration from the natural environment and different approaches to agriculture, as well as Nietzsche’s philosophical ideas about the quest for knowledge in order to “painstakingly develop layers of paint and composition.” View The Article The global appeal of Surrealism explored in exhibition at the Metropolitan Museum of Art The Art Newspaper October 4, 2021 The show opens at the Metropolitan Museum of Art this month before travelling to Tate Modern in February next year. In New York, it will span eight galleries and hundreds of works from more than 40 countries. Familiar pieces by pioneers of the movement including Max Ernst and Giorgio de Chirico will be presented alongside lesser-known artists such as the Portuguese poet and artist Artur Cruzeiro Seixas and the Argentine painter Antonio Berni, whose work Landru in the Hotel, Paris (1932) serves as an example of its popularity in South America. View The Article ArtSeen: Matvey Levenstein The Brooklyn Rail September 23, 2021 Levenstein’s paintings are both uncanny and compelling precisely because they do not emphasize the present tense. Seeing them is like seeing our world with eyes that are not quite our own. You might imagine something like these works emerging from the brush of a strong but obscure nineteenth-century Nordic painter—the names of Johan Christian Dahl, Peder Balke, and Vilhelm Hammershøi come to mind—transported to our time to paint what he saw in present-day New York City and rural Long Island. After all, these paintings do not dwell on the objects of our time: Levenstein does not, for example, produce still-lifes composed of things like laptops and iPhones that scream the contemporary condition. Many of his landscapes avoid the intrusion of non-picturesque sites or postindustrial commercialism. View The Article These Are the Art Shows and Events to See This Season The New York Times September 17, 2021 BOSCO SODI: LA FUERZA DEL DESTINO Working between New York and Oaxaca, Mexico, Sodi makes large clay spheres and rectangles whose textures you can almost feel just by looking at them. You can see about 30 in the sculpture garden. (Sept. 14-July 10, 2022; Dallas Museum of Art, dma.org) View The Article 7 Must-See Gallery Exhibitions in New York This September Galerie Magazine September 17, 2021 Inspired by Jean Genet’s 1957 play The Balcony, Elliott Hundley takes his mixed-media style to a new level with exciting, eye-catching pieces that delve into various aspects of life including religious culture, fantasy, performance, moral and social hierarchies, as well as the artist’s own personal experience. Encapsulating complex narratives and diverse motifs, these large scale panels create a compelling experience for the audience as the eye tirelessly travels to every inch of the canvas. View The Article The Critic's Notebook: On John Marin, Stradivari, George Rickey & more from the world of culture. The New Criterion September 14, 2021 As Ida’s harsh gusts have mercifully left the city, now is the perfect time to observe the abstract kinetic sculptures of George Rickey (1907–2002), which have just been installed in a temporary outdoor exhibition along Park Avenue and in the Kasmin Sculpture Garden (viewable from the High Line at Twenty-seventh street). Rickey used lightweight, reflective stainless steel to construct geometric shapes that shift gently in response to the softest breeze, like branches on a tree. Often described as balletic, sculptures such as Five Lines in Parallel Planes (1966) trace graceful circular paths through the air without making a noise, while Chevron Theme (1990) pivots like a weathervane. Look out for a new article on the sculptor by Eric Gibson in a forthcoming issue of the magazine. View The Article Daily Digest The Architect's Newspaper September 13, 2021 Several public installations from the late sculptor George Rickey have opened in Manhattan at two different exhibition sites: the Kasmin Sculpture Garden in Chelsea and Park Avenue from 52nd to 56th Streets. The installations at both sites are now open to the public and will remain on view through November. Three kinetic pieces are on display at the Kasmin gallery’s rooftop sculpture garden, which is viewable from the High Line near 27th Street, including Rickey’s striking Two Red Lines. Joining the High Line-adjacent works are nine sculptures installed along the Park Avenue meridian, including the breaking and reassembling Breaking Column II (1989), which stands in stark contrast to the strong, rigid towers that create a valley around the avenue. View The Article Art on the move: Kasmin brings kinetic artist George Rickey’s monumental sculptures to Manhattan The Art Newspaper September 7, 2021 On the Park Avenue Mall in Manhattan, between 53rd and 54th streets, a 25-foot-tall, segmented column stands on the strip of manicured greenery that separates lanes of traffic. Each section of the column looks to be gingerly balanced on the one below. The slightest breeze can tip a section awkwardly forward or to the side, like someone who has missed a step and lurches forward. The kinetic sculpture, George Rickey’s Breaking Column II (1989), does exactly what Rickey wanted all his work to do. “It’s activated by, and activates the surrounding environment,” says Eric Gleason, a director at Kasmin, which is putting on the exhibition with the George Rickey Foundation and the artist’s estate. View The Article Armory week marks a return to normal—but not business as usual The Art Newspaper September 7, 2021 “What we are all looking at is how to adopt this increased pace, but in a thoughtful way that retains what we’ve learned over the past year and a half,” says Nick Olney, a director at Kasmin Gallery, another Armory exhibitor. “OVR versions of your booth or digital attendance at a fair expands your reach to clients who can’t necessarily attend every fair. They can still meaningfully engage with the work. We’ve all been adapting these digital experiences on the fly. All these advances were done in real time, like upgrading a car while driving 80mph. But there’s really no substitute for in-person fairs and the excitement and serendipity that comes with them. In New York we feed off the tempo of fairs and exhibitions, the pace and the vibrancy. We all feed off that energy. It’s going to be about finding the right mix going forward.” View The Article How the Fashion House Valentino Took Inspiration From Jamie Nares’s Paintings for Its Couture Show in Venice artnet July 20, 2021 Nares had no idea that her work would serve as the finale look until the day before the show, and after she arrived in Venice for the occasion. “It’s a great honor to be given that place,” she said. “And the dress was incredible. The delicacy and intricacy of the stitching and the folds and sculpting of the fabric—it gave me a great respect for the work that they do.” View The Article Valentino Fall 2021 Couture Vogue July 16, 2021 The ball gown and cape that closed the show, Look 84, were scrolled with motifs drawn respectively from Jamie Nares’s It’s Raining in Naples, 2003 and Blues in Red, 2004, requiring 700 hours of work, 107 meters of fabric, and custom screens for the hand-printing as it had to be done on such a large scale. The effect was appropriately magisterial. By the time the rainbow clad models all lined the runway and Cosima was singing What the World Needs Now this editor was frankly so overwhelmed by the surfeit of beauty and emotion, and the joy of reemergence, that I am not ashamed to admit the tears sprang forth. View The Article KASMIN GALLERY 509 West 27th Street +1 212 563 4474 info@kasmingallery.com NEW YORK Tuesday–Saturday, 10am–6pm. In accordance with recent New York City requirements, Kasmin kindly asks guests to present proof of vaccination status upon entrance to the gallery. 297 Tenth Avenue +1 212 563 4474 info@kasmingallery.com NEW YORK Tuesday–Saturday, 10am–6pm. In accordance with recent New York City requirements, Kasmin kindly asks guests to present proof of vaccination status upon entrance to the gallery. Kasmin Sculpture Garden +1 212 563 4474 info@kasmingallery.com NEW YORK On view from The High Line at 27th Street, Monday–Friday, 7am-9pm; Saturday & Sunday, 9am–9pm. 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