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1976: Movies, Photographs and Related Works on Paper

Past exhibition
January 5 – February 11, 2012 515 West 27th Street, New York
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  • “Lower Manhattan in 1976 was a beautiful ruin. The crumbling wasteland proved fertile ground for artists though, nurturing the talent of a generation inspired by its vast emptiness.”
    —James Nares

  • Paul Kasmin Gallery is pleased to present 1976: Movies, Photographs and Related Works on Paper, a new exhibition by James Nares. Before he was painting large, single movement brush strokes, Nares’s kinetic investigations took other forms and directions. His preoccupation with movement and bodies in motion was well provided for in what amounted to an enormous, open air, common studio. The post-industrial landscape became the backdrop, subject and the medium during his prolific early career.

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  • The exhibition will feature five films including his 1976 Pendulum, which clocks a large spherical mass as it swings on a wire, strung up high from the footbridge, since dismantled, crossing Staple Street in downtown Manhattan. The exhibition will also feature a series of black and white chronophotographs that reveal the temporal structure of a pendulum’s swing, invisible to the naked eye, along with drawings, diagrams, objects, photos and other related material.

    Of Nares’s films, Amy Taubin writes, “Pendulum, like several other of Nares's mid-'70s movies—Hand Notes #2 (1975) and Ramp, Steel Rod, and Poles (all 1976)—was influenced by the films Richard Serra made in the late '60s, primarily Hand Catching Lead(1968). Both films depict a single, repeated action involving the effect of gravity on a heavy metal object. But the comparison stops there. Pendulum has a haunted lyricism, which has nothing to do with Serra's interests. The film evokes an anxiety dream: The entropic movement of the groaning pendulum, the claustrophobic effect of the industrial buildings lining the site on three sides, the slivers of sunlight penetrating the dust-laden air, even the occasionally glimpsed shadow of the filmmaker, suggest that something terrible has taken or is about to take place on this desolate street.”

  • About the Artist

    Jamie Nares
    Photo by Charlie Rubin

    Jamie Nares

    Over the course of a five-decade career, Jamie Nares has investigated, challenged, and expanded the boundaries of her multi-media practice that encompasses film, music, painting, photography, and performance. She continues to employ various media to explore physicality, motion, and the unfolding of time.  

    Nares has been the subject of numerous solo exhibitions, including at the Metropolitan Museum of Art, New York and a career-spanning retrospective at the Milwaukee Art Museum in 2019. Her work is included in several prominent public collections, including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Buffalo AKG Art Museum, Buffalo, NY; and the Whitney Museum of American Art, New York. A career-spanning survey of her film and video works were presented in 2008 at the Anthology Film Archives, New York, and in 2011 at the IFC Center, New York. In 2014, Rizzoli published the most comprehensive monograph on Nares’ career to date. Nares has lived and worked in New York since 1974. She has been represented by Kasmin since 1991.

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    • Alma Allen on Park Avenue
      Exhibitions

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      In Alma Allen's largest outdoor installation to date, ten unique bronze and onyx sculptures including examples reaching over 10 feet tall and realized especially for the exhibition, are on view at eight sites that span the Park Avenue Malls between East 52nd and East 70th Streets.

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509 West 27th Street

New York
Monday–Thursday, 10am–5pm
Friday, 10am–4pm
+1 212 563 4474
info@kasmingallery.com

 

297 Tenth Avenue

New York
Monday–Thursday, 10am–5pm
Friday, 10am–4pm
+1 212 563 4474
info@kasmingallery.com

 

Kasmin Sculpture Garden

New York
On view from The High Line at 27th Street
Monday–Sunday, 7am-11pm
+1 212 563 4474
info@kasmingallery.com

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