Kasmin is open by appointment until January 24, 2019. Join us on Thursday, January 24 from 6-8pm for the exhibition openings of Les Lalanne, Theodora Allen, Max Ernst, Andy Warhol, and Matvey Levenstein.

From all of us at the gallery, happy holidays and best wishes for the new year.





Press Archive



The Critic’s Notebook: On Ashbery’s art collection

The New Criterion

“Works from the Collection of John Ashbery,” at Kasmin Gallery (through December 22): John Ashbery, who died last September, will be remembered by history as a leading poet of the New York School, but his first aspiration was to be a painter.

Walton Ford: Twenty-First-Century Naturalist

The New York Review of Books

Looking at the paintings of Walton Ford in a book, you might mistake them for the watercolors of a nineteenth-century naturalist: they are annotated in longhand script, and yellowed at the edges as if stained by time and voyage. Something’s always outrageously off, though: the gorilla is holding a human skull; a couple of parrots are mating on the shaft of an elephant’s penis. In his early riffs on Audubon prints, Ford painted birds mid-slaughter: his American Flamingo (1992) flails head over heels after being shot with a rifle, and an eagle with its foot in a trap billows smoke from its beak (Audubon, in search of a painless method of execution, tried unsuccessfully to asphyxiate an eagle with sulfurous gas).

Goings on About Town: Stuart Davis

The New Yorker

“Lines Thicken: Stuart Davis in Black and White,” at the Kasmin gallery (through Dec. 21), shares an open secret of the irrepressible American modernist: drawing powers his paintings, even at their most colorful. These sixteen robust designs on paper, canvas, or board—in ink, gouache, or casein—amount to paintings in skeleton, displaying jazzy, indestructible linear networks, either edge to edge or afloat in pictorial space. The abstracted subjects include street and harbor scenes, still-lifes, and a study for the artist’s tour de force, the 1932 mural “Men Without Women,” in the men’s room of Radio City Music Hall. There’s chroma enough in the pictures’ white negative spaces. They sizzle. The excellence of the show’s selection makes this a brisk primer on the Parisian-informed genius of post-Cubist, proto-Pop form, who died in 1964, at the age of eighty-one. Davis took drawn line not for a walk, in the stated manner of Paul Klee, but for canters and gallops, with any willing viewer delightedly astride. —Peter Schjeldahl

What to See in New York Art Galleries This Week

The New York Times

November 15, 2018

The poet and critic John Ashbery described his friend, the painter Fairfield Porter, in a 1983 Newsweek review, as “one of those innovators whose originality can come perilously close to seeming old-fashioned.” It’s an apt gloss for Porter’s 1952 portrait “John Ashbery (Argyle Socks),” as well as for most of the two dozen other demure treasures making up “Works From the Collection of John Ashbery” at Kasmin.


Paul Kasmin’s New Chelsea Outpost Is a Refined Respite Among Its Glitzy Neighbors


November 12, 2018

Amid west Chelsea’s eclectic cacophony of low-slung converted blue chip galleries and glitzy condo developments, Paul Kasmin’s new Manhattan flagship gallery manages to hold court—quietly. With its imposing, angled facade that feels like a modern interpretation on a traditional proscenium, the gallery draws visitors in to its spacious interior while maintaining a certain imposing, compressive monumentality not often seen—or possible in—storefront galleries.

studioMDA completes two adjacent art galleries beneath new york's high line


November 8, 2018

Next door, studioMDA has created a purpose-built gallery for Paul Kasmin that acts as a ‘kunsthalle’ for displaying and viewing art. the main exhibition area, designed for the display of large-scale artworks, is a column-free, 3,000-square-foot space with 22-foot-high walls and a polished concrete floor. the ceiling in this main space is a pattern of 28 trapezoidal board-formed concrete coffers, each of which houses a large skylight that provides diffused natural daylight. the new gallery also houses private viewing rooms and offices.

Art021 Wants to Mint a Million New Chinese Collectors


November 9, 2018

It was also Kasmin’s first time at Art021. The New York gallery sold Mark Ryden’s cheeky painting Salvator Mundi (2018), a play on the Leonardo da Vinci painting that sold for $450 million at Christie’s a year ago, but with a fluffy dog holding the gazing ball instead of Jesus Christ. Kasmin had a bit of fun with the presentation, as two security guards stood by the painting protecting the canvas as if it were truly the Leonardo and not a cute puppy-fied homage.

Despite China’s Wavering Economy, Western Dealers Find Plenty of Encouragement at Shanghai’s Art Fairs


November 9, 2018

Meanwhile, in the main section of the fair, dealer Paul Kasmin was among the first-time exhibitors, with a booth that proved wildly popular. The gallery riffed on Christie’s viral marketing campaign for Leonardo da Vinci‘s Salvator Mundi last fall, with a playful blue Mark Ryden portrait—sphere in hand and all—flanked by security guards in dark suits, at the front of the booth.

Critic's Picks - Stuart Davis


November 3, 2018

Blue jeans, jazz, 1930s America; sailors and signage in New York’s Times Square, the stench of fish rolling off the river, and the plaintive sound of a trumpet snaking through the air. Stuart Davis, of course, was at the center of it all.

An Old-School New York Art-World Rivalry Makes a Comeback with Andy Warhol and John Ashbery Exhibits

Vanity Fair

November 3, 2018

Ashbery, the poet who died last year, had a vast collection of New York School art, now on display at the Kasmin Gallery, just a few blocks up from the Whitney’s blockbuster Warhol exhibit.

A Gallery by Any Other Name, Size and Shape?

The New York Times

October 25, 2018

Also in Chelsea earlier this month, a show of new paintings by Walton Ford inaugurated Paul Kasmin’s new gallery, a ground-up construction by Markus Dochantschi of Studio MDA. The new 10,000-square-foot gallery, with a concrete ceiling that recalls the Brutalist designs of what is now the Met Breuer, is part of a mini-archipelago of four Kasmin exhibition spaces along one block of West 27th Street near 10th Avenue. The new No. 509 is less than 10 feet from The High Line, which curves along the gallery’s new 5,000-square-foot rooftop sculpture garden and attracts more than 6 million people annually — far more than many museums.

Review of Lee Krasner

The New Yorker

October 25, 2018

The art dealer Paul Kasmin now runs five separate spaces in a one-block range, including a new rooftop sculpture park, on which a jaunty trio of Joel Shapiro’s bronzes can be seen from the High Line until the night before Christmas Eve. At the moment, however, the mini-empire’s smallest show is the one not to miss.

Design Aplenty at Paris’s FIAC Art Fair

Architectural Digest

October 19, 2018

Blurring the lines further was Paul Kasmin, who placed one of Walton Ford’s spectacular fauna studies (here, a panther) above Claude Lalanne’s Crocodile Bench, drawing the kind of opulent parallel to a collector’s home that most booths fail to achieve (or more specifically, rarely attempt to).

An Interview with Walton Ford


October 24, 2018

The American artist is well known for his large-scale watercolours of birds and beasts. His current exhibition at Kasmin Gallery, New York, reimagines the life and times of the Barbary lion, which became extinct in the wild during the 20th century.

The Most Influential Families in Media, Art, and Culture

Town & Country

October 17, 2018

Paul Kasmin, who represents Tina Barney and Robert Motherwell, is opening his fourth NYC gallery this fall, along the High Line. The megadealer learned the trade from dad John, who ran a seminal 1960s London gallery with clients including the Rolling Stones.

Walton Ford Ensures Lions Get Their Due

Robb Report

October 17, 2018

While the lion rarely gets its share these days, the noble beast is in sharp focus in Barbary, an exhibition of five large-scale watercolors by Walton Ford, which is inaugurating Paul Kasmin’s new Chelsea gallery at 509 West 27th Street, adjacent to the High Line.

The fruit of more than 18 years of research, the suite of paintings celebrates the Barbary lion—the beast of the Roman amphitheater, the great mammal painted by Delacroix, and the one that proudly roars for MGM’s film studios—which one might say had been loved to death with the last of the Atlas Mountain denizens perishing in the wild in the early 20th century.

New York Dealer Paul Kasmin Expands His Empire

Galerie Magazine

October 17, 2018

The shows herald a new era of curatorial ambition for the gallery. Along with shows larger in scope and an ambitious rooftop program, the gallery is also making a number of additional changes. Firstly, a welcome redesign of the logo and website. Secondly, Kasmin has decided to extend the length of his exhibitions from the usual six weeks to three months. (An unparalleled museum-quality exhibition on the relationship between Brancusi and Duchamp, for example, runs from September through December at the 515 West 27th Street space.)

Portrait of an Artist: Liu Dan

Vanity Fair

October 15, 2018

In the late 1960s, during the Cultural Revolution in China, a friend showed Liu Dan a selection of Western photography from the pages of a confiscated book and, mesmerized, he scrupulously copied the reproductions of Renaissance-era drawings. He had not yet received any formal training. Over 50 years later, Liu Dan is known internationally for his fastidiously rendered monochrome ink paintings, some of which draw upon compositional elements of the European masters whilst engaging a traditional Chinese form.

close button close button Kasmin Gallery Instagram Kasmin Gallery Facebook Kasmin Gallery Twitter Kasmin Gallery WeChat