The Critic's Notebook: On Józef Czapski, Elie Nadelman, A Christmas Carol & more from the world of culture.

The New Criterion

December 3, 2019

Elie Nadelman was one of those moderns who shaped the future by looking to the past. A sculptor who fused the classical and folk traditions, Nadelman dedicated his art to “salvaging the monumental by the miniature,” in the words of his champion Lincoln Kirstein. Now at Kasmin Gallery and curated by Priscilla Vail Caldwell, “Elie Nadelman: Significant Form” gathers together a wide selection of the artist’s figurative work assembled from his estate. “Nadelman’s craft was rooted in continuity he wished to extend,” wrote Kirstein. This show brings that extraordinary craft up to the present day.

Neon Maestro Keith Sonnier Talks Light, Life as New Show Opens in Chelsea: ‘I Sought Out Unusual People’


November 26, 2019

The light-and-glass sculptures on view at Kasmin (through January 11) come from Sonnier’s “Ba-O-Ba” series, which he started early in his career, making pioneering use of neon tubing. They are both new and old: freshly fabricated from drawings that date back more than four decades.

“I had always wanted to do the source of where ‘Ba-O-Ba’ came from,” he said, with vestiges of the twang he acquired growing up in rural Louisiana. 

Sketches Keith Sonnier Made 50 Years Ago Have Been Brought to Life in Neon Sculptures


November 22, 2019

From the placid turquoises of the blue moon to the scorching yellows of the southern sun, colors and their associations with nature still define Sonnier’s sculptures. All are inspired by deeply personal experiences, but retain a particular spot in the history of Post-Minimalist American art, following Pollock’s assertive splashes of paint and Judd’s painfully precise sculptures of reduced forms. On the brink of two such polar movements, Sonnier synthesized Abstract Expressionism’s unpredictable and dramatic conveyance of the artistic hand with Minimalism’ sleek and avant-garde assumption of tomorrow’s materials and forms.

‘Lee Krasner: Living Color’ Review: From Pain to Primacy

The Wall Street Journal

November 9, 2019

‘While the painter’s mark indicates passion,” an artist I know recently said to me, “shape points to pictorial intelligence.” Lee Krasner (1908-1984) possessed an abundance of both. A superbly cool, concise, complete and—most important—compelling exhibition of her work, “Lee Krasner : Living Colour,” is now at the Schirn Kunsthalle Frankfurt. And it makes the case for Krasner as not only a major Abstract Expressionist, but also an artist whose oeuvre—35 years after her death—argues for the continued vitality of abstract painting in an era of increasingly synthetic and electronic art.

Editors’ Picks: 23 Things Not to Miss in New York’s Art World This Week


October 8, 2019

French conceptualist artist Bernar Venet, who recently erected Europe’s biggest public sculpture, has brought five of his monumental sculptures. Made from raw bars of steel, each piece is a massive, multi-looped spiral, formed through an incredible show of artistic force.

Art Dealers at Frieze Masters Are Hustling to Make Sales


October 2, 2019

At a time of circumspection, “people are looking for work that’s rare, high quality, and correctly priced,” says Nick Olney of Kasmin.

William N. Copley


October 1, 2019

William N. Copley's "Reclining Nude" graces the cover of this season's Luncheon.

Worldly and welcoming, Luncheon is a style and culture magazine that invites old and new friends of all generations and cultural experiences to share their views, life and work over lunch. From simple jam sandwiches in the park to home-cooked feasts, to hours spent in chic restaurants, the conversation and visual content is inspired by this midday treat created by a top-table of writers, photographers and artists.

Art Market Buyer's Guide: Les Lalanne

The Art Newspaper

October 1, 2019

"The artist couple were celebrated for their works fusing flora and fauna. The Sotheby's sale following the death of Claude could further propel their prices."

Saturday Selects


September 21, 2019

Monica mentioned last week the plethora of good work being shown at EXPO Chicago, which goes through the end of the day tomorrow, and here comes another great piece by living legend neon artist Keith Sonnier for Kasmin.

A future-focused Chicago relies on a new class of collectors

The Art Newspaper

September 27, 2019

New York-based Kasmin, situated at the highly visible booth at the entrance to Expo, brought a wide selection of works from artists spanning their programme available for between $30,000 and $1m. Over the course of the fair, the team sold four works by Robert Indiana, Bosco Sodi, Elliott Puckette, and James Nares (who currently has a retrospective on show an hour away at Milwaukee Art Museum).

This Year's EXPO Art Week Highlights


September 20, 2019

The Peninsula Chicago hotel teamed up with New York gallery Kasmin to host REVERB, an exhibition of the work of James Nares, Iván Navarro and Naama Tsabar. Displayed in the hotel’s public spaces is an exploration of movement, sound and electricity. The neon works, Impenetrable Room by Navarro in particular, draw the viewer deeper in; through the use of mirrors and glass, he creates a rabbit-hole rippling effect that entrances the viewer.

Bernar Venet's "Indeterminate Hypothesis"

artnet China

September 24, 2019

What’s the Craziest Experience You’ve Ever Had at an Art Opening?


September 13, 2019

Howard Lutnick: "Earlier tonight, at Kasmin gallery, I was talking to a friend of mine, Debbie, and she’s chatting with me, and I go, “Debbie, do you want to meet my friend?” She says sure. Then I go, “Debbie, this is Frank Stella.” She was shocked. If you know Frank, he dresses really down. He was wearing a baseball hat and like the crappiest clothes ever. [Looking out into the crowd] He’d be 100 times under-dressed for this group."

“Painters of the East End” Explored How the Beaches of Long Island Influenced Abstract Expressionism

Art in America

September 11, 2019

Although Long Island has been a weekend utopia for New York elites since the late nineteenth century, beach culture boomed on the Island’s South Fork during the postwar period. Lured by open space and dramatic coastal scenery, artists affiliated with the New York School began congregating there in the 1940s and ’50s, forming a close-knit community. These urban artists flocked to the tip of the island alongside urban professionals, transforming what had been farmland into a seaside land of leisure. “Painters of the East End” brought together a selection of paintings and drawings by eleven artists, all of them women, who spent time living and working on Long Island, highlighting the resonances between the landscape and their art.

The New Empire Builders: How Pace and Other Art Dealers Are Reinventing What a Gallery Space Should Do

artnet news

September 10, 2019

The goal for these galleries appears to be to maximize the space available not only to artists, but also to collectors. Paul Kasmin’s latest space on 28th Street includes three private viewing rooms totaling 3,400 square feet, while a mere 460 square feet is set aside for public exhibitions and offices. Viewing rooms “allow us to spend uninterrupted time with collectors and curators in order to discuss a single work in detail,” says Nick Olney, a Kasmin director.

Mega-galleries pick up the pace in the race for space

The Art Newspaper

September 10, 2019

Meanwhile, Kasmin will open another space this fall at 514 West 28th Street, with 3,400 sq. ft of private viewing rooms and office space and 460 sq. ft of public exhibition space. This expansion connects it to its 3,000 sq. ft flagship gallery (and 5,000 sq. ft rooftop sculpture garden) at 509 West 27th Street, which opened last September, "completing our vision for the new, purpose-built space,” its director, Nick Olney, says.

Kasmin Represents Ali Banisadr


September 10, 2019

Born in Iran in 1976, Banisadr is known for his densely populated paintings which draw from his childhood experiences of the Iran-Iraq war. His work is currently featured in the exhibition “Bosch & Banisadr, Ali Banisadr: We Work in Shadows at Gemäldegalerie,” which recently opened at the Academy of Fine Arts in Vienna, and has been included in exhibitions ranging from “Love Me/Love Me Not, Contemporary Art from Azerbaijan and its Neighbors” (2013) at the Heydar Aliyev Center in Baku, Azerbaijan, to the Fifty-Fifth Venice Biennale. The New York–based artist will have his first solo exhibition at Kasmin in early 2021.

Kasmin Now Represents Ali Banisadr


September 4, 2019

Painter Ali Banisadr has left Sperone Westwater to join Kasmin, with a solo exhibition scheduled for the enterprise in New York’s Chelsea gallery district in the winter of 2021. Banisadr’s gestural and frenetic paintings are often abstractions of experiences during his childhood in Tehran while witnessing the Iran-Iraq war. His work has been seen at the Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, Centre Pompidou, and the Los Angeles County Museum of Art, among others.

Alex Katz brings light and movement to Midtown

Time Out

September 5, 2019

The consummate New York artist, Alex Katz, 92, was born in Brooklyn, grew up in Queens and studied art at The Cooper Union following World War II. He began his artistic career during the heyday of Abstract Expressionism, a style he rebelled against with a form of realism that was informed by movies and advertising. But it wouldn’t be accurate to describe his work as Pop Art; rather it comprises smoothly stylized portraits (particularly of his wife Ada, Katz’s constant muse and frequent subject over 70 years) and landscapes (based, more often than not, on the area around his summer home in Maine). Katz’s work is regularly exhibited in all of the city’s major museums, and more recently, on the walls of the 57th Street subway station. And for the next few months, the Park Avenue malls between 52nd and 60th street will host a new outdoor installation by Katz organized by Kasmin in collaboration with Lococo Fine Art Publishers.

James Nares


September 1, 2019

James Nares’s eight ingenious and materially intriguing paintings at Kasmin Gallery—made from twenty-two-karat gold leaf applied to a ground of black Evolon, a microfilament textile—created a richly existential space with the most elemental of contrasts: light and dark, symbolizing life and death. The surfaces of his abstractions—stippled or covered with striations that vaguely resemble the hides of cheetahs, tigers, and other exotic cats—are resolutely flat, in the grand modernist tradition. Yet they are profoundly expressive, rich with personal and social meaning, as evidenced by the pictures’ titles, such as Greenwich I, 2018; Lafayette VI and Lafayette VII, both 2019; Laight I, 2018; and Wooster, 2019—which cite streets in Lower Manhattan, where the artist has lived for decades. 

— Donald Kuspit

Lee Krasner, Hiding in Plain Sight

The New York Times

August 19, 2019

A tangle of drips in all directions; a hazy rectangle in a field of dark pigment; a rigid zip down an empty canvas … To be an Abstract Expressionist in New York’s buoyant first postwar years, it helped to have a signature look. Yet Lee Krasner was suspicious of paintings where telltale marks were like alternative autographs — even when the autograph was her own husband’s.

She was proud not to have a single style. You had to figure out each painting on its own, she said, or you end up with something “rigid rather than being alive.”

Tough, diligent, and deadly serious about the history of art, Krasner might have been the most intelligent of the painters who convinced the world in the late 1940s that New York had displaced Paris as the epicenter of modern art. That intelligence expressed itself through an art that ricocheted across styles and media, from tightly massed collages to huge abstractions of Matissean richness.

At the Barbican

London Review of Books

August 15, 2019

The Lee Krasner retrospective at the Barbican (until 1 September) is not to be missed. It is rare these days to be given a chance to assess the seriousness and beauty of the best Abstract Expressionist painting. The style is unfashionable: it is thought to be overwrought, supersized, ‘American’ in a 1950s way (‘great again’) and heavy with male cigarette smoke. Krasner had her opinions about all these charges, which are far from empty: the small room containing four paintings she did in 1956 – Prophecy, Birth, Embrace, Three in Two – is about as frightening a pictorial space as can be imagined. Its vision of glamour and nudity and sex is ghastly, which doesn’t mean the paintings lack powder-puff appeal. Pin-up grins have never been closer to screams of pain.

Go Inside Artist Bernar Venet’s Stunning Estate in the South of France


August 9, 2019

What Richard Serra is to steel slabs, Bernar Venet is to steel bars. Venet may be less famous than his counterpart, but he is a giant of modern sculpture in his own right and, like Serra, a master at bending massive pieces of weathered steel to his will.

Since the 1960s, Venet has been producing endless variations on his complex tangles, bundles, and piles of ruddy steel. Ranging from rigorously geometric to almost spontaneous in feeling, all of his pieces are products of a meticulous conceptual approach. One might imagine the 78-year-old Venet, the holder of a knighthood in France’s National Order of the Legion of Honour, as a grand old figure sketching in a leather-bound notebook at his Provençal estate as the wind whistles through the cypresses. But non.

Painters of the East End

The Brooklyn Rail

August 2, 2019

Many of the European avant-garde artists who arrived in New York during World War II found themselves reaching out for a less expensive kind of living, and discovered larger studios in a rural landscape and waterscape on Long Island’s South Fork. In the mid-twentieth century, a group of women painters developed there a collaborative community sharing a culture mingling bohemian instincts and creative inspiration. This kind of art colony thrived on their interwoven affinities, gossip, affection, envies, and dislikes. Gathered there were Lee Krasner, Elaine de Kooning, whose painting on board of 1949 has the side-sway of Lyonel Feininger’s oddly European buildings, and also Jane Freilicher with her gorgeous landscapes, as well as Joan Mitchell, whose paintings instantly stand out anywhere, as happens with the most striking figures of various groups and periods, reminding me of how, for instance, Charles Olson’s being and writing stood out in Black Mountain College times.

James Nares Suspends Himself Over The Canvas To Create Large-Scale, Single-Swipe Paintings


July 31, 2019

Over the course of a five-decade career, british artist James Nares has worked across film, music, painting, photography, and performance to explore physicality, motion, and the unfolding of time. In the 1980s, Nares, who has been living and working in New York since 1974, began to create his monumental brushstroke paintings, made using brushes of his own manufacture, recording a gestural passage of time and motion across the canvas. His work is included in many public and private collections including the the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), and the Whitney Museum of Art, while at the moment, NARES:MOVES, a career-spanning retrospective is on at the Milwaukee Art Museum.

Before the Galleries Close Up Shop This August, Here Are 5 Summer Group Shows You Won’t Want to Miss

artnet news

July 29, 2019

Ninth Street Women fans, this is the show for you!  A small but engaging exhibition, “Painters of the East End” brings into dialogue the works of a group of mid-century Modernist painters who left New York City for the expansive studios, untamed nature, and bohemian lifestyles made possible in South Fork of Long Island. Here, artists who have been obscured by the passage of time, like the great Abstract Expressionists Mary Abbott and Perle Fine, are presented alongside alongside Helen Frankenthaler, Elaine de Kooning, Lee Krasner, and Joan Mitchell, giving a refreshing sense of cohesion, depth, and detail to the era.

Critic's Notebook: Painters of the East End

The New Criterion

July 23, 2019

What’s immediately clear upon entry into “Painters of the East End,” a summery exhibition at Kasmin Gallery’s 297 Tenth Avenue space, is that, unlike previous generations of Long Island painters, these midcentury artists shared no discernably unified style, ranging from various modes of non-objective painting to sensitively observed modernist realism. Rather, the painters included here (who happen all to be women—among them are rock-stars like Helen Frankenthaler, Jane Freilicher, Elaine de Kooning, Krasner, and Joan Mitchell) share what we may call a distinct sensibility, one surely influenced, if intangibly so, by the open skies and fresh air of the East End. The show is a blast of cool oxygen for these hot and heavy city days.

James Nares, an Artist Known for Mapping New York’s Changing Landscape, Is Now Navigating a Deeply Personal Transition of His Own


July 15, 2019

The late, great writer Glenn O’Brien once said that James Nares might sound a bit British, but he’s a New Yorker at heart. Nares does speak with a latent, languid London accent, but there are few artists whose work has embodied the thrum of New York like his.

You can make the argument, as Nares has, that the defining characteristic of the city is its streets. Much of the artist’s work has located itself there, specifically the street surface, the textural layer of the concrete and asphalt and all the visual information caked into it. Since his arrival to New York in 1974, the street has been Nares’s great protagonist and, in the intervening years, he has spent a lot of time looking down.

12 Incredible Group Shows to See in New York This Summer


July 10, 2019

Removed from the crowded city, the Hamptons has been an inspiration for artists since the mid–twentieth century. In this exhibition, Kasmin gathers the work of 11 iconic female painters from that community who were drawn to the open fields and rolling seas of the South Fork of Long Island. On display will be work by well-known talents such as Mary Abbott, Helen Frankenthaler, Lee Krasner, and Joan Mitchell, as well as those deserving of it, such as Betty Parsons, who was also known as a collector and dealer of Abstract Expressionism.

Kasmin Releases Unseen Stuart Davis Material


July 11, 2019

Kasmin gallery is publishing a scholarly catalogue drawing on the archive of jazz-influenced American painter Stuart Davis, whose estate it has represented since 2018. Developed in collaboration with the artist’s son, Earl Davis, Stuart Davis: Self Portrait includes personal correspondence, family photographs, sketchbooks, and calendar pages. It will be published in fall 2020.

Artist David Wiseman Debuts a Dreamlike Wallpaper Collection

Architectural Digest

July 10, 2019

After a solo show at Kasmin gallery this spring spurred an artistic epiphany, David Wiseman returned to drawing.

9 Art Events in New York


July 8, 2019

This exhibition focuses on artists working on New York’s Long Island in the mid-20th century. The show will examine the dialogues and divergences among pieces by Helen Frankenthaler, Elaine de Kooning, Lee Krasner, Joan Mitchell, and other artists who drew inspiration from the natural landscape of the South Fork.

Private view: must-see gallery shows

The Art Newspaper

July 2, 2019

The Hamptons on New York’s Long Island have long proved an accessible summer escape from the city and, in the mid-20th century an enclave of artists built the so-called East End into a centre of collaborative creativity. It was not just landscape artists who flocked there, but also Surrealists, Abstract Expressionists and Pop artists. This exhibition explores how the visual imagery of the seascape and the bohemian synergy of the community influenced some of the era’s leading female artists such as Mary Abbott, Helen Frankenthaler, Elaine de Kooning, Lee Krasner, Joan Mitchell, Jane Freilicher and Betty Parsons.

Painters of the East End

The New Yorker

July 8, 2019

During the summer months of the mid-twentieth century, the epicenter of the New York School shifted from the Cedar Tavern, in Greenwich Village, to the South Fork of Long Island. In the exhibition “Painters of the East End,” the Kasmin gallery focusses on eleven women from that community. (“Seed No. 10,” a 1969 gouache by Lee Krasner, is pictured here.) Some of the artists are well established (Helen Frankenthaler, Joan Mitchell); others deserve heightened attention (Betty Parsons, better known as a gallerist).

Brancusi: The Photographer

Financial Times

June 20, 2019

New York dealer Paul Kasmin has spotted an art market trend that chimes with his current exhibition of photographs by the sculptor Constantin Brancusi: works by major artists in an atypical medium. The vast price difference between the media plays a part. Most are photographs of his sculptures, including self-portraits of the artist working in his studio, and are rare sightings on the market: “You’re unlikely to see more than four a year,” Kasmin adds. Brancusi: The Photographer runs until June 29.

James Nares: Monuments

Brooklyn Rail

June 25, 2019

Nares moved from London to Manhattan in 1974, and has used the city ever since as his stage set and subject, looking at it from all directions while translating his motive yet penetrative gaze via many artistic mediums. His present series of formidable paintings tower over visitors on the high walls of Kasmin’s airy new gallery space, but they are the successful products of a concerted effort to look down. To notice the particularities of the pavement beneath one’s feet. To render those surfaces in a remarkably tactile manner. To refer to bodies and histories in a way that Nares’s art always has—by Jason Rosenfeld

Milwaukee Art Museum opens first-ever Nares retrospective


June 13, 2019

This week, Milwaukee Art Museum opens what is, rather astonishingly, the first retrospective show of works by British-born, New York-based artist Jamie Names. "Nares: Moves," which opens Friday and runs through Oct. 6 in the Baker/Rowland Galleries, is an in-depth look at a varied oeuvre and is rich in works – nearly 150 in all – in a wide variety of media, from film and video to works on paper, sculpture, painting, photography and more.

The Most Compelling Art Experiences of the Year

Robb Report

June 6, 2019

Enter respected dealer Paul Kasmin, who trades in the likes of Robert Motherwell, Lee Krasner and Robert Indiana. When it came time to build his latest among a small constellation of galleries, Kasmin turned the roof, which is flush with the High Line, into a 5,000-square-foot sculpture garden, uniting the two Chelseas.

Chelsea Supersizes Its Art Scene With Mega-Galleries

Wall Street Journal

June 1, 2019

In 2018 alone, the Kasmin and Lehmann Maupin galleries, two major operators, launched new Chelsea locations, each with at least 8,000 square feet of exhibition space and different features of note.

Sitting Pretty: Cork Furniture Worth Lusting After


Would you want to sit in a chair that resembles the popped cork of your favorite bottle of wine? The British product and furniture designer Jasper Morrison is hoping you will—or that you’ll at least find the concept intriguing. For a new exhibition, Morrison’s first complete series of furniture has been remixed and produced entirely in cork. It sounds a little unusual (and it is), but seeing the beloved designer’s handiwork made over in the spongy, sunburnt material is quite a sight to see.

Corks by Jasper Morrison

Corks 77

This exhibition puts on view Jasper 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 lounge, a fireplace, chairs, stools, and bookshelves.

Barbican Present in London Goals to Lift Lee Krasner's Profile


May 29, 2019

Regardless of having lengthy since emerged from the shadow of her husband Jackson Pollock, Lee Krasner has not had a present within the UK because the Whitechapel Gallery’s in 1965. This week’s exhibition on the Barbican Artwork Gallery is subsequently overdue. Certainly, it begs the query why the Tate—which prior to now introduced in exhibitions from the US dedicated to different Summary Expressionists corresponding to Barnett Newman and Mark Rothko—will not be placing on such a present. Maybe it has shifted its agenda to extra modish spheres. Then once more, different vital names within the Summary Expressionism pantheon—assume Sam Francis, Robert Motherwell and Advert Reinhardt—haven’t acquired their full due from any London museum both, although the primary two have been seen adequately elsewhere in Europe. 

Barbican show in London aims to raise Lee Krasner’s profile

The Art Newspaper

May 29, 2019

Despite having long since emerged from the shadow of her husband Jackson Pollock, Lee Krasner has not had a show in the UK since the Whitechapel Gallery’s in 1965. This week’s exhibition at the Barbican Art Gallery is therefore overdue. Indeed, it begs the question why the Tate—which in the past brought in exhibitions from the US devoted to other Abstract Expressionists such as Barnett Newman and Mark Rothko—is not putting on such a show. Perhaps it has shifted its agenda to more modish spheres. Then again, other important names in the Abstract Expressionism pantheon—think Sam Francis, Robert Motherwell and Ad Reinhardt—have not received their full due from any London museum either, though the first two have been seen adequately elsewhere in Europe.

Sitting Pretty: Cork Furniture Worth Lusting After


May 29, 2019

Would you want to sit in a chair that resembles the popped cork of your favorite bottle of wine? The British product and furniture designer Jasper Morrison is hoping you will—or that you’ll at least find the concept intriguing. For a new exhibition, Morrison’s first complete series of furniture has been remixed and produced entirely in cork. It sounds a little unusual (and it is), but seeing the beloved designer’s handiwork made over in the spongy, sunburnt material is quite a sight to see.

Corks by Jasper Morrison


May 14, 2019

Renowned designer Jasper Morrison makes beautifully minimalist products that give a distinctive character to honest materials and simple shapes. Museums that have included his work in their permanent collections include MoMA, New York, Centre Pompidou, Paris, and the V&A Museum, London. The new Corks line showcases the designer’s ability to use natural materials in new ways. Made in a limited-edition, the cork family Jasper Morrison line at the Kasmin gallery in Chelsea, NYC marks the designer’s first solo gallery show in North America.

Jasper Morrison shows his first complete series of cork furniture in New York


May 13, 2019

An exhibition of cork furniture by Jasper Morrison has opened at the Kasmin in New York's Chelsea, the designer's first solo show in North America.

Called "Corks," the show brings together items of furniture by the London-based designer that are all realised entirely in cork.

Frieze tries to heat up NYC art market

Page Six

May 2, 2019

New York’s Frieze art fair got off to a solid start this week — with works selling at a VIP preview including a 1960 Max Ernst sculpture for $500,000 from Paul Kasmin gallery. 

Frieze New York 2019 Sales Report

Art Market Monitor

May 2, 2019

Brisk Sales And A Changing Art Market At Frieze's VIP Preview


May 2, 2019

Frieze New York held its VIP Preview on Thursday, in a huge, bright tent on Randall's Island. Collectors were once again awed by the quality of the work, and sales were brisk in an art market that has seen subtle changes but keeps going strong.

Frieze New York Clings to Selfie Culture and Escapism for its 2019 Edition


May 2, 2019

William N. Copley’s 1975 homage to the comedian W.C. Fields at Kasmin Gallery’s booth weaves the entertainer’s quotes into the motif of the American Flag. Quips like “You can’t cheat an honest man,” “Never give a sucker an even break” and “At least it’s not Philadelphia” run over top each of the three scrolls. Copley’s double portrait of Fields and America plays out well today on all fronts, but for the jab at Philly. That city’s always worth a visit.

At the same booth, Roxy Paine’s carefully carved maquette rendering of an airline security checkpoint feels near electric, bristling with political overtones when it debuted in 2013. The viewing window alludes to a kind of theatre of illusions and outright deception. The cast, though, remains conspicuously absent, either signaling a shut down for the evening or the aftermath of a more dramatic event.

‘It Does Feel a Touch Safe’: Frieze New York Has Plenty of Pleasures and Solid Sales, but Risky Works Are Hard to Find


May 2, 2019

The entrance to Frieze New York this year is a selfie-taker’s dream: an enchanting installation of steel spheres by Yayoi Kusama, with an aisle just wide enough to pose in, spills out across the floor in front of a billboard-size painting by Chris Ofili of women in a languorous pile at the foot of a mountain.

Lee Krasner Expressionist Masterpiece Ignited By Jackson Pollock's Demise Expected To Shatter Record


May 2, 2019

The Eye is the First Circle is an emotional tour de force. After more than 20 years in a private collection, the last large-scale Lee Krasner in private hands spans nearly 20 feet, a tightly contained, yet expansive, explosion of anguish, rage, and instinct that elucidates her life and career.

Barbican show aims to raise Lee Krasner's UK profile

The Art Newspaper

May 1, 2019

Despite having long since emerged from the shadow of her husband Jackson Pollock, Lee Krasner has not had a show in the UK since the Whitechapel Gallery's in 1965. This month's exhibition at the Barbican Art Galery is therefore overdue.

Jasper Morrison's Cork Furniture is set to go on view in New York


May 1, 2019

Jasper Morrison has designed a limited edition furniture collection, which has been realized entirely in cork. Morrison’s longstanding interest in the materiel stems from its functionality as well as its inherent atmospheric qualities. 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.

Sheer Presence: Monumental Paintings by Robert Motherwell

The Brooklyn Rail

May 1, 2019

Those of us weaned on the history of contemporary American painting will recognize the drips and pours of Pollock, the brushwork of De Kooning, the colors of Rothko, the marks of Mitchell, the zips of Newman, the gestures of Kline—but what do we associate with the paintings of Robert Motherwell? Of the many words that come to mind, the most inclusive choice would be “aesthetics,” a term for beauty expropriated from the Enlightenment, but this does not exactly fit the scheme of elocutions given to the other artists.

Whitewaller New York 2019: What to See


April 30, 2019

Outside the fairs, be sure you save time in your schedule to visit these exhibitions, on view at New York’s top museums, galleries, and collections.

“Naama Tsabar: Dedicated” will transform Paul Kasmin into a site-specific sculptural and sonic installation. Subverting the championing of masculinity in the history of music, Tsabar’s exhibition will redefine movement, mastery, and the female body through the union of iconic relics of rock and roll and the experience of an artistic body moving through space. Melodies of Certain Damage, for instance, will connect bits of broken guitars to Transitions (works on canvas, hanging on the walls), while other works will forefront the productive tension between disruption and femininity.

“The Supreme Gift … Is Scale”: Robert Motherwell’s Monumental Paintings


April 29, 2019

In a 1965 letter to poet Frank O’Hara, painter Robert Motherwell mused that “the supreme gift, after light, is scale.” Motherwell had recently completed a seven-by-seventeen-foot painting, called “Dublin, 1916, with Black and Tan.” This vast composition of black, red, blue, and ochre is one of eight mural-sized works featured in "Sheer Presence: Monumental Paintings by Robert Motherwell," on view at Kasmin in Chelsea. It’s the first exhibition to focus exclusively on the artist’s sweeping large-scale canvases, which grew, in part, out of the Californian spaciousness of his vision — the Washington-born painter grew up on the Pacific Coast and studied philosophy at Stanford — and the AbEx movement’s postwar humanist optimism, conceived under the sign of the vast American prairie.

AO Preview – New York: Frieze New York Art Fair at Randall’s Island, May 1st – 5th, 2019


April 26, 2019

With the increasingly packed schedule of the spring art season in New York, attention and anticipation once again turns to the opening of this year’s edition of Frieze New York, set to open its doors in just a few days at its annual haunt at Randall’s Island. This year, as the fair reaches its eighth edition, some adjustments and tweaks to the schedule will look to expand the fair’s offerings and appeal in an increasingly crowded circuit.

Drama on an outdoor stage

The New York Times

April 26, 2019

The artist Walton Ford is known for his richly detailed and complex paintings of animals, some familiar and some extinct, drawn with a striking, at times unsettling, take on the traditional academic style. Imagine the work of the artist-naturalist John James Audubon, but on steroids and Red Bull. 

Claude Lalanne, Whimsical (and Sought-After) Sculptor, Is Dead at 93

The New York Times

April 17, 2019

Claude Lalanne, a sculptor with a whimsical streak whose metalwork included quirky cutlery, an apple with lips, and bronze cabbages standing on chicken legs, died in Fontainebleau, France. She was 93. 

Lalanne’s works tended to be smaller and often drew on imagery from the botanical kingdom, as with elegant candelabra reminiscent of entwined branches or mirrors framed by bronze foliage. She found inspiration in the gardens at the couple’s home in Ury, south of Paris. “I never stop walking in the garden,” she told The Financial Times two years ago, “looking at what is there and using what I grow.”

She meant that in a very real way. In addition to her sculptures, Ms. Lalanne made jewelry, often using an electroplating process, in which something from her garden — a leaf, a twig — would be immersed in a bath of sulfuric acid and copper sulfate, leaving it with a delicate copper coating.

Matvey Levenstein Joins Kasmin Gallery


February 26, 2019

Matvey Levenstein’s paintings explore themes of history and representation, speaking to the relevance of Romanticism in the 21st Century. His quiet meditations are filtered through the most traditional painterly genres—the landscape, the still life, and the portrait—and are imbued with a distinctly literary sensitivity. A sincere engagement with nature, combined with the prevalent cinematic aspects of Levenstein’s work, call to mind radical 20th-century filmmakers such as Andrei Tarkovsky and Ingmar Bergman.

The Week in Arts: Robert Motherwell

The New York Times

April 13, 2019

You don’t look at a painting like Motherwell’s “Hoppla, wir leben!” with just your eyes. The exuberant orange expanse, one of eight paintings by the titan of abstract expressionism in “Sheer Presence: Monumental Paintings by Robert Motherwell” at Kasmin Gallery’s skylit new flagship location on 27th Street, is just under nine feet tall. You can’t see the scribbly charcoal figure, an impulsive cross between a fence and a Cyrillic letter, in the canvas’s roiling, sky-blue canton without imagining him stretching up on his tiptoes to draw it — and it’s hard to imagine that without rising to your toes yourself. As for “The Grand Inquisitor,” an explosive riff on the Belgian flag more than 14 feet long, it may require a few balletic leaps.

CLAUDE LALANNE (1924–2019)


April 11, 2019

The French artist Claude Lalanne, known for whimsical nature-inspired sculptures, died in Fontainebleau on April 9 at the age of ninety-three. Lalanne worked as a duo with her husband, François-Xavier, from the 1960s until his death in 2008. Together, Les Lalanne, as they were known, created playful and surreal objets, often from cast bronze and in the form of flora and fauna, including sheep, apples, and rabbits. (She earned cult status when one of her works—a man with a cabbage for a head—appeared on the album cover of Serge Gainsbourg’s 1976 L’Homme à Tête de Chou.) Lalanne was a frequent collaborator with designer Yves Saint Laurent, for whom she created jewelry and a sculpture of model Veruschka’s bust for his fall 1969 collection. She continued to collaborate with the fashion industry well into this current decade, designing accessories for Dior’s spring 2017 collection.

“I am incredibly sad to lose a great friend and artist. I was always fascinated by my many, many visits to her and her family’s magical world,” Paul Kasmin said. The dealer presented an exhibition of Les Lalanne’s work earlier this year. Les Lalanne were recently the subject of a retrospective at Les Arts Decoratifs in Paris, and their work is in the collctions of the Cooper Hewitt Museum in New York and the Centre Pompidou in Paris.

‘You Have to Be There’: The Power and Presence of Robert Motherwell’s Large-Scale Paintings


April 10, 2019

‘The supreme gift, after light, is scale’, wrote Robert Motherwell in a letter to the poet Frank O’Hara in 1965. As demonstrated by an exhibition of his large-format paintings that opened at Kasmin Gallery’s recently-inaugurated 509 West 27th Street space last month, the artistic possibilities of scale were a constant concern throughout Motherwell’s long career. This exhibition of mostly later work is the first to focus solely on the monumental in his oeuvre, and features eight paintings: some, like Dublin, 1916, with Black and Tan (1963-64), take great joy in expanses of chromatic juxtaposition while others, such as Forced Entry (1981), exercise just a handful of brushstrokes to construct a rudimentary painterly gesture. Each of the eight captivate.

Jan-Ole Schiemann: “A Different Pose” at Kasmin Through May 4th, 2019

Art Observed

March 22, 2019

Now on view at New York space Kasmin Gallery, artist Cologne-based artist Jan-Ole Schiemann is mounting a debut solo exhibition, bringing with him a collection of new paintings that see the artist continuing to revel 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.

EXPO Chicago Announces Numbers From 8th Edition

Chicago Gallery News

September 24, 2019

“EXPO CHICAGO is consistently a great fair for us. The dynamic programming and presence of esteemed international and midwestern collectors—along with the city’s world-class institutions—makes for a unique and unmissable experience.”

Robert Motherwell Found Unlikely Inspiration in Architecture

Architectural Digest

March 22, 2019

As one of the founders of the Abstract Expressionist movement, Robert Motherwell was nothing if not ambitious. "It took a lot of courage for Motherwell to make these," remarks Kasmin gallery's director Eric Gleason, as he gestures towards the sweeping canvases pinned to the gallery's walls. "When he was making these, there just weren't very many big spaces to show them. He knew he would be sacrificing visibility for a lot of these." Given the sheer abundance of galleries and art spaces in New York City alone—throw a stone in Chelsea and you're apt to hit a white cube—it's difficult to imagine that there weren't many spaces to show 9" tall paintings in 1970's New York, but aside from Sidney Janis and Marlborough Gallery, such was the case.

9 Art Events to Attend in New York: Robert Motherwell


March 18, 2019

Under the title Sheer Presence, this exhibit showcases eight large paintings created by Robert Motherwell between the 1960s and 1990, the year before his death. The title alludes to a state Motherwell once said he hoped to achieve: “sheer presence, beingness, as such, objectivity and true invention.” Among the works included is Open No. 97: The Spanish House (1969), a work from Motherwell’s Open series that features the outline of a rectangle inscribed on a monochromatic background.

A monumental Robert Motherwell show

Financial Times

March 18, 2019

Sheer Presence: Monumental Paintings by Robert Motherwell will be staged at the Kasmin Gallery in New York from March 21 to May 18 in what will be the first exhibition to focus exclusively on the late artist’s large-format works dating from the 1960s to 1990s. The event is also set to include a group of seminal paintings from The Dedalus Foundation, the arts organisation founded by Motherwell in 1981.

The abstract expressionist’s masterworks, some measuring 304cm x 223cm, promise to be a visual feast set against the Kasmin’s spare 279sq m interior. The eight graphic canvases on view include Dublin 1916, with Black and Tan (1963-64); The Forge (1965-66/1967-68); and The Grand Inquisitor (1989-90). Motherwell was known for his gestural, broad brushstrokes and dramatic contrasts of colour, but this exhibition also includes subtler works such as Open in Grey with White Edge (1971) – a soothing acrylic with faint hints of charcoal on canvas. Select pieces in the exhibition will be for sale through the gallery, priced from $2m to $10m.

In a career spanning over five decades, the prolific Motherwell was a painter, printmaker, teacher and editor, and these works are among his most visually arresting. “Motherwell was an especially emphatic, intuitive mark-maker, and the large-format canvas provided a vehicle for him to really embrace his painterly ambitions,” says Kasmin Gallery director Eric Gleason.

David Wiseman: profound love for nature

TL Mag

March 14, 2019

In his young, but successful career, David Wiseman has caught the attention of many through his profound love for nature and respect for the history of decorative arts and contemporary design. Ranging from transformative room installations to mesmerizing furniture, the L.A. based designer creates his dream world by drawing inspiration from the world around him. TLmag had the pleasure to sit down and talk to him about his first show at Kasmin Gallery which is on show from March 14 until April 27,  and the -soon to be opened- Wiseman Studio.

9 Art Events in New York: Naama Tsabar


March 11, 2019

With “Dedicated,” her latest solo outing, Naama Tsabar continues her examination of the role gender plays in music-making and performance. Bringing together three bodies of work, the show features a site-specific sculptural and sonic installation, works on canvas that function as amplifiers, and photographs set in the artist’s studio. The artist and a group of female musicians will stage a performance at the gallery in May, on the closing night of the exhibition.

Inside Bosco Sodi’s Sprawling Red Hook Studio

Galerie Magazine

March 5, 2019

When Hurricane Sandy barreled through New York City in 2012, few neighborhoods were hit as hard as Red Hook, on the Brooklyn waterfront. After the storm surge receded, the pier at the end of Van Brunt Street was stained scarlet, like the remnants of a brutal crime scene perhaps. And, indeed, the devastation that confronted the artists, nonprofits, and businesses occupying the pier's 1860s brick-and-stone warehouses was horrible. Bosco Sodi, whose washed-away cache of pigments was responsible for the red residue, lost 18 of the process-intensive paintings he is best known for—their cracked and densely encrusted surfaces calling to mind lava fields or desert landscapes, often in vivid monochrome hues. A year's worth of his work was gone. 

Creative Minds

Galerie Magazine

March 1, 2019

"This is the busiest chapter of my life," says Los Angeles artist and designer David Wiseman, "but since I've been working, I've always said the same thing." There's the slew of custom commissions, including a chandelier canopy that conjures "an overhead, glowing dream garden made of plaster, porcelain, and rock crystal," which his studio is working on for a high-profile celebrity couple. New pieces in an exhibition opening March 14 at Kasmin in New York, Wiseman's first with the gallery, will demonstrate just how his work bridges art and design. In his quest to realize a perfect jungle paradise, Wiseman will debut wallpaper depicting monkeys and a lagoon at the show as well, plus a monolithic marble fireplace with a collage composition of "fish scale, clover, chrysanthemums, water, and shark teeth." – J.T. 

Six Must-See Figurative Painting Shows in New York

Galerie Magazine

March 1, 2019

Theodora Allen approaches plant life somewhat more slyly by softly weaving it into her symbolic still lifes. Blurring the boundary between landscapes and mindscapes, Allen untangles the medieval histories of Norse and English cultures to create sublime paintings of flora-filled shields and monuments. The shields envelop such psychoactive and medical plants as belladonna, marijuana and opium poppies, while the monuments depict the symbology of medieval Tarot cards—the cup, the coin, the branch, and the sword—in arched window-like forms surrounded by the same type of mentally destabilizing plants and weeds. Painted with a luminous, misty-blue, monochromatic palette, Allen’s enchanting canvases share the aesthetic appeal of early cyanotype pictures made by the first photographers during the Romantic era—thankfully resurrecting that poetic style for these uncertain times.

Making in the Magic: Theodora Allen's weald at Kasmin Gallery


February 26, 2019

Theodora Allen first began showing her otherworldly, ethereal paintings at Blum & Poe, the gallery that represents her in Los Angeles, where she lives and works. From her debut show in Los Angeles in 2015, to her first solo show in New York currently on view at Kasmin Gallery (Theodora Allen, weald, Kasmin Gallery, New York (January 24 - March 9, 2019), Allen’s work is consistently enchanting and worthy of deeper discussion.

Goings on About Town: Matvey Levenstein

The New Yorker

February 25, 2019

Can loveliness shock? Yes, as witness the fantastically skilled and sensitive neo- or para- or faux-Romantic (you decide) work of Matvey Levenstein, a forty-nine-year-old Russian-American artist. The subjects of his paintings and ink drawings (at the Kasmin gallery through March 2), some on copper or wood, are forthrightly generic: landscapes from around Levenstein’s home, on the North Fork of Long Island, floral still-lifes, and a portrait of his wife, the painter Lisa Yuskavage, in a white bathrobe. Layered grays, orange-flavored sepia, and the odd palely simmering pink or blue constitute—or conjure, or exhale—spectral woods, clouds, a snow-covered ancient graveyard, and a storm at sea. Caspar David Friedrich comes to mind as an ancestral spirit, but the work recalls no specific precedent. Its tenor is coolly confident, assuming a viewer’s empathy. That jolts. You would expect a wink or a nudge, or a smack of naïveté or perversity in so atavistic a style. But no soap. Levenstein’s temerity fascinates.

— Peter Schjeldahl

Levenstein's Long Exposures

The New Criterion

February 21, 2019

Matvey Levenstein is notoriously slow with the brush, finishing only a dozen or so paintings or sumi ink drawings each year. It’s time well spent, and, partly as a result, his work is an anti-expressionistic respite from this insane cultural moment. The finely wrought paintings in his current exhibition at Kasmin Gallery in New York—landscapes and interior still lifes—whisper their purpose rather than shout, in the way that Dana Schutz’s wildly aggressive figurations just down Tenth Avenue do.

Artist Theodora Allen Embraces the Elements at Kasmin Gallery

Cultured Magazine

February 7, 2019

In Theodora Allen’s paintings, weeds grow, translucent but stubborn. The plants themselves are drawn with scientific precision, specimen-like. While so many paintings these days announce themselves as artworks, bellowing their contemporaneity, her works seem almost like artifacts, remnants of something simultaneously here and not here—like a glassy Xerox of an ancient illuminated manuscript. They are what I imagine I’d find inside Hildegard von Bingen’s dream journal, if she were born in California in 1985.

Matvey Levenstein

The Brooklyn Rail

February 5, 2019

There are fifteen oils on wood, canvas, or copper, and six large Sumi ink drawings on paper in Matvey Levenstein's first solo show in New York since his exhibition at the now-closed Larissa Goldston Gallery in 2009. Dating from 2015 to 2018, the works address traditional genres of landscape, still life, and portraiture, but Levenstein has developed a process that combines art historicism, casual photography, and technical rigor via a realistic perfectionism that both guides you into the artist's own world and lends magnitude to the quotidian. The pictures do not resemble those of Vermeer, but these explorations of settings of subtle historical significance on Long Island's North Fork around Orient, New York, elicit a similar level of truth.

Art Gems of NYC: Three exhibitions worth pulling up to this month

Kulture Hub

February 2, 2019

First stop is Kasmin Gallery in Chelsea for two amazing shows. “Les Lalanne” includes over 30 works by world-renowned French sculptors Claude and Francois-Xavier Lalanne and “Polaroid Portraits” includes dozens of Polaroids taken by Andy Warhol himself.

NYC’s Kasmin Gallery Hosts Les Lalanne Menagerie Curated by Louis Benech

Interior Design

January 30, 2019

The Chelsea outpost of the Kasmin galleries is a staple in New York City’s contemporary art scene. Its most recently-opened exhibition is a collaboration between renowned landscape architect and designer Louis Benech and the ever-imaginative sculptor duo Les Lalanne.

More than 30 sculptures from François-Xavier and Claude Lalanne were hand-picked by Benech for the exhibition, the installation of which is evocative of the artists’ home studio garden in Ury, France. It’s a whimsical scene to take in: a cast-iron baboon "Babouin" perches stoically while monkeys entangle themselves in the branches of a bronze chandelier "Structure Vegetale avec Singes". Nearby, the duo’s signature sheep seem to observe both gallery-goers and the rest of the sculptural menagerie.

Theodora Allen’s Ghostly Paintings Hark Back to the Middle Ages


January 30, 2019

Viewing myths and fairytales from a Humanist perspective, the American painter’s latest body of ethereal works reference the plants that contributed to the first widely used anaesthetics, as well as weeds and wildflowers in her native LA. Margaret Andersen visits her in the sunny Pasadena studio where she lives and works.

Louis Benech Celebrates Les Lalanne in Curatorial Debut

Galerie Magazine

January 30, 2019

Having completed over 300 projects from South Korea to Morocco, there’s not much that world-renowned landscape architect Louis Benech hasn’t done in his 30-year career. He even created the first contemporary garden for the Château de Versailles, a watershed moment that vaulted him to international acclaim. But before Kasmin’s enchanting Les Lalanne exhibition opened in New York last week, Benech had never been a curator.

The gallery’s founder, Paul Kasmin, tapped Benech due to his close personal relationship to French sculptors Claude and Francois-Xavier Lalanne, the married couple known collectively as Les Lalanne. In producing the show, Benech tracked down 45 of the duo’s whimsical works, including functional sculptures shaped like sheep, crocodiles, and monkeys, to just name a few.

Claude and François-Xavier Lalanne Work on View in a Maze-Like Exhibition at Kasmin

Architectural Digest

January 26, 2019

This exhibition marks another exciting leap of sorts for the relationship between Kasmin and the Lalannes. Paul Kasmin himself was the first to show the Lalannes' work in the United States—and has shown them many times since—and now, 30 years after Kasmin's opening, this exhibition is staged in the gallery's newest space on 27th Street in Manhattan, which opened last fall. To put an architectural spin on the setting for the the objects, Kasmin called on garden guru and AD100 Hall-of-Famer Louis Benech to turn the space into a labyrinth-meets-white-box-gallery and help curate the selection of objects. Walking through the double-height doors, one is only confronted with a bulbous bronze apple and 10-foot-tall mirror, both by Claude. "He’s broken up the entire gallery space to make it feel intimate, so he’s divided it into alleyways with a forced perspective," explains Dicconson. "So when you enter the show, you see an apple and a mirror on the far wall…the rest you have to discover behind the walls he’s built." Behind each wall exists a small vignette with themed objects, from Claude's crocodile furniture to François-Xavier's myriad primates (including a standout babouin—a functional fireplace in the belly of a cast iron baboon).

Theodora Allen Landscape/Mindscape

Office Mag

January 27, 2019

Plants have an enduring power over their onlookers. They seduce us with their silent stillness. They fascinate us with their ability to thrive. They entice us with their potential flavor. They ensnare us with their abilities to soothe the body and alter the mind. They are reminders of our mortality.

Louis Benech Celebrates Les Lalanne in Curatorial Debut

Galerie Magazine

January 30, 2019

Having completed over 300 projects from South Korea to Morocco, there’s not much that world-renowned landscape architect Louis Benech hasn’t done in his 30-year career. He even created the first contemporary garden for the Château de Versailles, a watershed moment that vaulted him to international acclaim. But before Kasmin’s enchanting Les Lalanne exhibition opened in New York last week, Benech had never been a curator.

Three exhibitions to see in New York this weekend

The Art Newspaper

January 24, 2019

Looking at Theodora Allen’s delicate, muted watercolour and oil-on-linen paintings that are filled with mystical symbology, psychotropic plants, full moons and other various celestial bodies is like falling into a Pre-Raphaelite-tinged hippie fever dream. The 33-year-old Los Angeles-based artist toes the line between transcendental and twee in her debut solo show in New York at Kasmin Gallery (until 9 March) with a slew of new paintings featuring ancient symbols, tarot tropes and floral imagery that are part surreal, part kitsch. While some of her previous paintings have smacked of a Stevie Nicks album cover—particularly one of guitar ringed by a floral wreath—her newest works at Kasmin are spellbindingly sincere in their quest for meaning through beauty.

'Andy Warhol: Polaroid Portraits' at Kasmin Gallery, New York

Blouin Artinfo

January 16, 2019

Kasmin Gallery will be presenting the works of Andy Warhol in "Polaroid Portraits," from January 24 through March 2, 2019.

The Challenges Female Artists Face Mid-Career


January 11, 2019

Judith Bernstein—represented by Kasmin gallery in New York, The Box in Los Angeles, and Karma International in Zurich—said the biggest obstacle facing women in the art world is self-doubt. She cites the writings of Louise Bourgeois, another artist famously ignored for most of her career, as inspiration. “She never stopped making work,” Bernstein said. “That is the way to overcome self-doubt, to continue on.”

Artist Tina Barney Photographed the Backstage Antics at Sies Marjan’s Fashion Week Show—See the Pictures Here


January 10, 2019

Fashion label Sies Marjan’s list of fans reads like a who’s who of Hollywood: Glenn Close, Emma Stone, Zendaya, and Saoirse Ronan are all among its followers. But its appeal extends well beyond the fashion and entertainment realms as well. With its asymmetrical tailoring and eye-catching color palettes, it’s no wonder the brand, founded in 2016 by the Dutch-born wunderkind Sander Lak, recently teamed up with fine art photographer Tina Barney to document the lead-up to its spring 2019 show at New York Fashion Week. The collaboration has resulted in a new series of 12 photographs and two new films that lift the curtain on the fashion show.

Kasmin Gallery by studioMDA

Architectural Record

January 3, 2019

The Chelsea neighborhood in Manhattan is still Art Gallery Central, its origins dating at least to the 1990s, when low-rise warehouses and reasonable rents began luring these venues from SoHo. As with SoHo’s fate—by which escalating real-estate prices brought high-end retail shops and condos and shooed away galleries and artists’ lofts—the overwhelming popularity of the High Line along the west edge of Chelsea and the rapid construction of luxury residential towers could again demonstrate that economic gains come with cultural losses. But, for now, the mix is lively, even if many galleries are counting on the largesse of landlords.

Cork is Making a Comeback, Thanks to Jasper Morrison

The British product designer’s new collection will make you wish all of your furniture was cork.

May 21, 2019

Leave it to the endlessly talented Jasper Morrison to breathe new life into this ’70s staple, which has recently come back on the design world’s radar in a big way. While he’s dabbled in cork before (who didn’t love his stools for Vitra or the super cool hut he designed for Muji in Tokyo?), this collection marks the first time Morrison has used it exclusively.

The limited edition line, now on exhibition at the Kasmin Gallery until June 29th, boasts a variety of beautiful pieces, from a chaise lounge (his and my personal favorite) and ottoman to tables and shelving. And they’re all amazingly constructed from leftover wine stopper material.

Cork is Making a Comeback, Thanks to Jasper Morrison

Elle Decor

May 21, 2019

Leave it to the endlessly talented Jasper Morrison to breathe new life into this ’70s staple, which has recently come back on the design world’s radar in a big way. While he’s dabbled in cork before (who didn’t love his stools for Vitra or the super cool hut he designed for Muji in Tokyo?), this collection marks the first time Morrison has used it exclusively.

The limited edition line, now on exhibition at the Kasmin Gallery until June 29th, boasts a variety of beautiful pieces, from a chaise lounge (his and my personal favorite) and ottoman to tables and shelving. And they’re all amazingly constructed from leftover wine stopper material.

Best in class: Put a cork in it

Irish Times

June 8, 2019

Designer Jasper Morrison loves the velvety texture of cork and has been working with the material since at least 2004 when he launched a series of stools for Vitra. A decade later he presented chairs in a Trafalgar Square installation called Home of a Pigeon Fancier, that featured at London Design Festival. He has now teamed up with Kasmin in New York to show a whole suite of cork furniture.

September 20, 2019

Additionally, Kasmin, a New York Gallery returning to the fair, sold works by James Nares, Elliott Puckette and Bosco Sodi

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