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Kevin Beasley, The Gaze of Three (Block), 2021 (detail). Polyurethane resin, raw Virginia cotton, housedresses, kaftans, hooded sweater, dress trousers, linen shirt, sweatshirt, pair of Nike Blazer Mid '77, HEATTECH pants, t-shirts, terrycloth towel, altered t-shirts, gold powder, 73 x 59 x 46 inches (185.42 x 149.9 x 116.8 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, Bird, 2022 (detail). Polyurethane resin, raw Virginia cotton, housedresses, kaftans, t-shirts, du-rags, altered t-shirts, gold powder, 148 1/2 x 69 x 31 inches (377.2 x 175.3 x 78.7 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, HeaD(Ress), 2019 (detail). Polyurethane resin, raw Virginia cotton, carpet padding, polyurethane foam, altered cotton fabric, wool skirt, 53 x 16 1/2 x 10 inches (134.6 x 41.9 x 25.4 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, Red Section IV, 2021 (detail). Polyurethane resin, raw Virginia cotton, altered t-shirts, confetti t-shirts 46 x 55 1/2 x 2 inches (116.8 x 141 x 5.1 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, My brother’s teeth, 2012 (detail). Polyurethane foam, carpet padding foam, polyurethane rubber, underwear, Larry's wisdom teeth, 10 x 11 1/2 x 76 inches (25.4 x 29.2 x 193.1 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, THE KITCHEN, 2021 (detail). Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, altered t-shirts, carbon fiber, 83 1/2 x 93 x 2 inches (212.1 x 236.2 x 5.1 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche

The Hill Art Foundation is pleased to announce A body, revealed, a site-responsive exhibition of works by Kevin Beasley, curated by the artist and spanning the past decade. In developing this presentation, Beasley was granted full access to the Hill Collection and to the Foundation’s galleries, designed by architect Peter Marino. Beasley chose to activate the interstitial spaces in the Foundation, placing key works from the last decade in dialogue with an important bronze from the Hill Collection, Giovan Battista Foggini’s The Laocoön (circa 1700–1720).

Through the exhibition, Beasley explores how abstraction can bridge the gap between a figure and its signifiers. His use of lived-in garments charge abstract works with explicit references to the body and probe the limits of representation. The exhibition also foregrounds Beasley’s exploration of the connection between bodies and land, and in what happens when a person moves between environments. A body, revealed includes works with varied relationships to the space of the gallery: free-standing, wall-mounted, works that lie flat on the floor, and works that sit tucked away on bookshelves and stairwells.

The Hill Art Foundation is free and open to the public. The Foundation will be open Wednesday–Saturday from 11:00 a.m.–5 p.m. To schedule a group visit or a private appointment, email info@hillartfoundation.org.

Kevin Beasley, THE REST (A Hall), 2021. Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, carbon fiber, 83 1/2 x 93 x 2 inches (212.1 x 236.2 x 5.1 cm). Courtesy the artist and Casey Kaplan, New York

The presentation includes two works from the Hill Collection, made at different points in the artist’s career. Slab (Site/Picked A Constellation) was added to the collection in 2017, the year it was made. The work is an important early example of Beasley’s “slabs,” a term that the artist has used to describe his sculptural formations that reflect on ancient stone reliefs (specifically 9th c. BCE Assyrian reliefs that depict battle or courtly scenes and religious rituals in rich detail and highly schematic imagery). The interplay of du-rags and socks evokes floating bodies against a backdrop of colorful housedesses and kaftans. The bright colors and patterns of the dresses draw focus and upend the figure-ground dynamic, a term borrowed from Gestalt psychology to describe the eye’s ability to perceive a figure as distinct from its background. For Beasley, exploring the figure-ground relationship is central to his larger preoccupation with how people are shaped by, and connected to, their environments.

The Beginning of the End (2021), a new acquisition to the Hill Collection, prominently features the image of a woven basket printed onto a grid of twelve t-shirts. The photograph was taken by Beasley in 2012 in Maplesville, AL, at the workshop where he purchased the cotton gin motor that became the focus of his 2018–19 Whitney Museum solo exhibition, A view of a landscape. The handmade basket was woven roughly sixty years ago by a farm laborer to aid in the collection of cotton. Now, it is framed in a field of recently harvested Virginia cotton and fossilized in resin. Images and material are interchangeable and reference the same origin. In this work, Beasley connects his own familial history with the complex, shared histories of the broader American experience as it relates to the production of cotton and black land ownership in the South.

Kevin Beasley, The Beginning of the End, 2021. Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, carbon fiber. 84 x 93 x 2 inches (213.36 x 236.22 x 5.08 cm). © Kevin Beasley, Courtesy of the artist and Casey Kaplan, New York
HAF A Body Revealed Installation 01
Installation shot of A body, revealed. Photo: Matthew Herrmann
HAF A Body Revealed Installation 06
Installation shot of A body, revealed. Photo: Matthew Herrmann
HAF A Body Revealed Installation 05
Installation shot of A body, revealed. Photo: Matthew Herrmann
HAF A Body Revealed Installation 12
Installation shot of A body, revealed. Photo: Matthew Herrmann
HAF A Body Revealed Installation 14
Installation shot of A body, revealed. Photo: Matthew Herrmann
Kevin Beasley, Bird, 2022. Polyurethane resin, raw Virginia cotton, housedresses, kaftans, t-shirts, du-rags, altered t-shirts, gold powder, 148 1/2 x 69 x 31 inches (377.2 x 175.3 x 78.7 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
KB2022 001 27
KB2022 001 06
Kevin Beasley, Bird, 2022 (detail). Polyurethane resin, raw Virginia cotton, housedresses, kaftans, t-shirts, du-rags, altered t-shirts, gold powder, 148 1/2 x 69 x 31 inches (377.2 x 175.3 x 78.7 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
KB2022 001 20
KB2022 001 25

Kevin Beasley (b. 1985, Lynchburg, VA) lives and works in New York. His practice spans sculpture, photography, sound, and performance, while centering on materials of cultural and personal significance, from raw cotton harvested from his family’s property in Virginia to sounds gathered using contact microphones. Beasley alters, casts, and molds these diverse materials to form a body of works that acknowledge the complex, shared histories of the broader American experience, steeped in generational memories. A selection of recent exhibitions and performances include Prospect.5, New Orleans (2021), in which Beasley realizes a multiyear site-specific project in the Lower Ninth Ward; a series of outdoor performances for the Performa 2021 Biennial, New York; The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, at Virginia Museum of Fine Arts (2021); Grief and Grievance: Art and Mourning in America at New Museum, New York (2021); a month-long residency and solo exhibition at A4 Arts Foundation, Cape Town, South Africa (2020); and ASSEMBLY, co-organized by Kevin Beasley, Lumi Tan, Tim Griffin, and Nicole Kaack at The Kitchen, New York (2019). In 2018-2019, Beasley transformed the eighth floor of The Whitney Museum of American Art for his first solo exhibition in New York, A view of a landscape, in conjunction with a series of performances. Other past exhibitions include Kevin Beasley, Institute of Contemporary Art, Boston (2018); Hammer Projects: Kevin Beasley (2017), Hammer Museum, Los Angeles; inHarlem: Kevin Beasley, The Studio Museum in Harlem (2016); and Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York (2015). Beasley’s work is included in the collections of The Museum of Modern Art; Art Institute of Chicago; Guggenheim Museum; Dallas Museum of Art; Minneapolis Institute of Art; Pérez Art Museum Miami; Tate, London; San Francisco Museum of Modern Art; ICA Boston; The Studio Museum in Harlem; Hammer Museum; Whitney Museum of American Art, and others.

Kevin Beasley, Red Section IV, 2021 (detail). Polyurethane resin, raw Virginia cotton, altered t-shirts, confetti t-shirts 46 x 55 1/2 x 2 inches (116.8 x 141 x 5.1 cm). Courtesy the artist and Casey Kaplan, New York. Photo: Jason Wyche
Kevin Beasley, On the path to reconciliation, 2022. Polyurethane resin, Philip Guston catalogs, raw Virginia cotton, 13 x 6 1/2 x 10 1/2 inches (33 x 16.5 x 26.7 cm). Courtesy the artist and Casey Kaplan, New York. Photos: Jason Wyche
Kevin Beasley, On the path to reconciliation, 2022. Polyurethane resin, Philip Guston catalogs, raw Virginia cotton, 13 x 6 1/2 x 10 1/2 inches (33 x 16.5 x 26.7 cm). Courtesy the artist and Casey Kaplan, New York. Photos: Jason Wyche
Kevin Beasley, On the path to reconciliation, 2022. Polyurethane resin, Philip Guston catalogs, raw Virginia cotton, 13 x 6 1/2 x 10 1/2 inches (33 x 16.5 x 26.7 cm). Courtesy the artist and Casey Kaplan, New York. Photos: Jason Wyche
Kevin Beasley, On the path to reconciliation, 2022. Polyurethane resin, Philip Guston catalogs, raw Virginia cotton, 13 x 6 1/2 x 10 1/2 inches (33 x 16.5 x 26.7 cm). Courtesy the artist and Casey Kaplan, New York. Photos: Jason Wyche
Installation shot of A body, revealed. Photo: Matthew Herrmann
HAF A Body Revealed Installation 03
Installation shot of A body, revealed. Photo: Matthew Herrmann
KB2020 005 04

Kevin Beasley
Untitled, 2020
Housedress, resin
37 3/8 x 11 x 7 7/8 inches
(95 x 28 x 20 cm)

KB2012 004 02

Kevin Beasley
My brother’s teeth, 2012
Polyurethane foam,
carpet padding foam,
polyurethane rubber,
underwear, Larry’s
wisdom teeth
10 x 11 1/2 x 76 inches
(25.4 x 29.2 x 193.1 cm)

KB2021 017 01

Kevin Beasley
THE REST (A Hall), 2021
Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, carbon fiber
83 1/2 x 93 x 2 inches
(212.1 x 236.2 x 5.1 cm)

KB2022 001 01

Kevin Beasley
Bird, 2022
Polyurethane resin, raw Virginia cotton, housedresses, kaftans, t-shirts, du-rags, altered t-shirts, gold powder
148 1/2 x 69 x 31 inches
(377.2 x 175.3 x 78.7 cm)

KB2021 014 01

Kevin Beasley
THE KITCHEN, 2021
Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, altered t-shirts, carbon fiber
83 1/2 x 93 x 2 inches
(212.1 x 236.2 x 5.1 cm)

KB2021 026 01

Kevin Beasley
The Gaze of Three (Block), 2021
Polyurethane resin, raw Virginia cotton, housedresses, kaftans, hooded sweater, dress trousers, linen shirt, sweatshirt, pair of Nike Blazer Mid ’77, HEATTECH pants, t-shirts, terry cloth towel, altered t-shirts, gold powder
73 x 63 x 47 inches
(185.4 x 160 x 119.4 cm)

KB2019 013 1

Kevin Beasley
HeaD(Ress), 2019
Polyurethane resin, raw Virginia cotton, carpet padding, polyurethane foam, altered cotton
fabric, wool skirt
53 x 16 1/2 x 10 inches
(134.6 x 41.9 x 25.4 cm)

KB2020 080 17

Kevin Beasley
Bust, 2011–20
Polyurethane resin, dye-sublimation printed t-shirt, motocross neck brace, Charles’s cervical neck collar
22 1/2 x 20 x 24 inches
(57.2 x 50.8 x 61 cm)

KB2022 002 01

Kevin Beasley
Untitled (backache), 2022
Polyurethane resin, raw Virginia cotton, polyurethane foam, backpack
22 x 16 x 23 inches
(55.88 x 40.64 x 58.42 cm)

KB2021 013 01

Kevin Beasley
Red Section IV, 2021
Polyurethane resin, raw Virginia cotton, altered t-shirts, confetti t-shirts
46 x 55 1/2 x 2 inches
(116.8 x 141 x 5.1 cm)

KB2017 023 1

Kevin Beasley
Ornament (self-care product IV), 2017
Polyurethane resin, du-rags,
6.5 x 8 x 6 1/4 inches
(165.1 x 20.3 x 15.9 cm)

KB2018 012 1

Kevin Beasley
Untitled, 2018
Wool Latvian national regional costume, housedresses, du-rags, t-shirts, resin
60 x 21 x 24 inches
(152.4 x 53.5 x 61 cm)

KB2017 018 5

Kevin Beasley
Mophead, 2017
Polyurethane resin, polyurethane foam, mop head
16 x 15 1/2 x 8 inches
(40.6 x 39.4 x 20.3 cm)

KB2016 022 1

Kevin Beasley
Untitled, 2016
Polyurethane resin, canvas, altered t-shirt on canvas
29 x 18 x 2 1/4 inches
(73.7 x 45.7 x 5.7 cm)

KB2016 030 1

Kevin Beasley
Untitled, 2016
Polyurethane resin, altered t-shirt
25 1/2 x 20 1/2 x 4 inches
(64.8 x 52.1 x 10.2 cm)

Artwork 01 01

Kevin Beasley
Hanger I, 2020
Bronze
24 1/2 x 6 x 3 3/4 inches
(62.2 x 15.2 x 9.5 cm)

KB2021 024 01

Kevin Beasley
The Beginning of the End, 2021
Polyurethane resin, epoxy resin, raw Virginia cotton, dye-sublimation printed t-shirts, carbon fiber
84 x 93 x 2 inches
(213.4 x 236.2 x 5.1 cm)

BEA KE 001 Web

Kevin Beasley
Slab (Site/Picked A Constellation), 2017
Housedresses, kaftans, t-shirts, socks, du-rags, cotton, soil, bandanas, altered garments, altered fitted caps, resin
78 3/4 x 80 x 3 inches
(200 x 203.2 x 7.6 cm)

Untitled (street Shirt One)

Kevin Beasley
Untitled (street shirt one), 2014
Polyurethane resin, long sleeve shirt, spit
1 x 30 x 33 inches
(2.5 x 76.2 x 83.8 cm)

LAOCOON1

Giovan Battista Foggini
Laocoön, 1700-20
Bronze
22 x 17 3/8 x 8 1/2 inches
(55.9 x 44.1 x 21.6 cm)

Artwork 02 01

Kevin Beasley
On the path to reconciliation, 2022
Polyurethane resin, Philip Guston catalogues, raw Virginia cotton
13 x 6 1/2 x 10 1/2 inches
(33 x 16.5 x 26.7 cm)

An abstract sculpture with a rectangular base positioned centrally in an outdoor terrace

Christopher Wool
Untitled, 2013
Bronze and copper plated steel
161 3/8 x 113 3/4 x 49 5/8 inches
(409.89 x 288.93 x 126.05 cm)

Screen Shot 2022 03 05 At 4.29.13 PM

Robert Gober
Drains, 1990
Cast pewter
3 3/4 x 3 3/4 x 1 5/8 inches
(9.5 x 9.5 x 4.1cm)

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