“Pictures of Beasley’s grandfather’s trailer, blown up and printed across still more T-shirts, cover two of the pieces on view at “A body, revealed,” another show of the artist’s work, running through the end of April at Manhattan’s Hill Art Foundation. In a way, these resin-treated tees reconstruct the mobile home, sold off years ago, inside the gallery — a place and its former occupant unearthed by their absence.”
“People of refinement have a disinclination to colors,” Goethe argued in an 1810 treatise on chromatic perception. That’s as good a justification as any for the three shows, all excellent, quite unalike, staged so far at this private foundation. Last year we saw the paintings and photography of Christopher Wool (black, white, gray) and the sculptures of Charles Ray (silver, aluminum); now the Hill turns to Minjung Kim, a South Korean artist whose painstaking, profoundly beautiful ink paintings deploy, in the main, a muffled palette of grays and blacks.”
“Andy Hall: You opened the Hill Art Foundation a year ago. Has it changed the direction of your collecting?
Tom Hill: After doing the Christopher Wool show—which he curated—I saw his work in a different light. As a result, I pursued additional pieces, and we now have the largest collection of his works. But the show also gave me more perspective. The same thing happened with the Charles Ray show, for which Charles juxtaposed his work with Renaissance and baroque bronzes of both pagan and Christian themes. I literally bought another religious bronze because of it.”