Perspectives from artists, journalists, curators, and teen curators.
One striking, insightful, precarious pairing follows another in this frankly incredible group of paintings that Salle has managed to call in.
Here is a chance to view 20th-century art and sculpture through the eyes of the artist David Salle. Born in Oklahoma, educated in California, Salle came to New York in the mid–70s. By the mid–80s he was known for his diptychs and triptychs—large, compartmentalized canvases that were conceptual and cinematic.
On a recent afternoon, at the two-story Hill Art Foundation in Chelsea, the collector J. Tomilson Hill and the artist David Salle stood in front of Salle’s Reliance (1985), a painting of a person, their arms bent a sharp angles, surrounded by a yellow field. To the right was a Rubens, the stoic Portrait of a Gentleman, Half-length, Wearing Black (1628–29). Across the way was Cecily Brown’s The use of blue in vertigo (2022) and Frank Auerbach’s Head of Julia (1985).
For a show opening at the Hill Art Foundation in New York on April 21, the artist David Salle has curated a selection of paintings and sculptures by 35 artists. Drawing on history-spanning works by the likes of Peter Paul Rubens, Francis Bacon, Salman Toor, and Cecily Brown, “Beautiful, Vivid, Self-contained” considers the role of juxtaposition in our experience of art. Below, read an excerpt from the essay Salle wrote for the show’s catalogue.
M.H. Miller labels Beautiful, Vivid, Self-contained “see this” in the April 13th 2023 T List newsletter for T Magazine.
Read Stephen Petersen’s feature on Spencer Finch for Sculpture Magazine.
Critic Blake Gopnik reviewed Lux and Lumen: Spencer Finch for the January 13, 2023 issue of The New York Times.
Critic Andrea Scott reviewed Lux and Lumen: Spencer Finch in the October 10, 2022 issue of The New Yorker.
Critic Andrea Scott reviewed No Forms in the July 11, 2022 issue of The New Yorker.
I’m thinking of the breath, of the comma. In the title of Kevin Beasley’s exhibition, a comma interrupts the clause “a body revealed” like a fulcrum, delays the revelation, and creates two ideas out of one, aiming them away from each other. “A body” becomes the end of some unknown, unseen phrase; “revealed” begins another. Somewhere between the two, on the precipice of meaning, some body is still its own, and unseen.
As part of their in-depth engagement with A body, revealed, our Teen Curators had the opportunity to interview artists, curators, and gallerists about Kevin Beasley’s practice. Christopher Lew is the chief executive director of the Horizon Foundation, Los Angeles. Previously, he was a curator at the Whitney Museum of American Art, New York, where he curated Beasley’s solo exhibition, Kevin Beasley: A View of A Landscape. This interview excerpt has been edited for length and clarity.
As part of their in-depth engagement with A body, revealed, our Teen Curators had the opportunity to interview artists, curators, and gallerists about Kevin Beasley’s practice. Josh Ginsburg is the director of A4 Arts Foundation in Cape Town, South Africa. This interview excerpt has been edited for length and clarity.
Scholars Adam Williams and Alan Wintermute on Peter Paul Rubens (1577–1640) and Anthony van Dyck (1599–1641).
Read more by clicking “PDF Download” below.
New York Times review of Minjung Kim. December 16, 2020.
Interview between Andy Hall and Tom Hill in the Summer 2020 issue of Blau International.
Color Test series consists of an LED light box confronting the viewer with an overwhelming abundance of colors.
The Exhibition – is an initiative by the Sean Kelly Gallery to bring their podcast, Collect Wisely, to life as a virtual presentation. Read J. Tomilson Hill’s essay on Noguchi’s Stone Embrace.
As I’ve confined myself to my workspace at home as so many others across the world have done over the past months, my thoughts often traveled back to an amazing group of works that were recently assembled at the MET Breuer for the last venue of the exhibition tour of Vija Celmins: To Fix the Image in Memory, a retrospective we co-organized with colleagues SFMOMA.
This magnetic composition stems from a period in Christopher Wool’s practice when he began to use his previous creative output as the source material for new, autonomous paintings.
Creating these stitched paintings is a much more physical process than one might think.
Essay to accompany Three Christs, Sleeping Mime, and the Last Supper
Ink As Contemporary Practice: The Art of Minjung Kim
“BBQ” belongs to Albert Oehlen’s cycle of grey paintings, a series that the artist has periodically returned to as an exercise in self-discipline.
New York Times review of Charles Ray and the Hill Collection. January 2, 2020.
This magnificent stained-glass window by Valentin Bousch is currently undergoing conservation prior a future display at the gallery.
Read the foreword to the catalogue accompanying Minjung Kim’s exhibition.
The Mountain lion attacking dog by Charles Ray is a sculpture that evokes a strong emotional reaction to a graphic, yet cinematic scene of a mountain lion feasting on a dog.
This monumental window, nearly twelve feet tall, was made in 1533 by one of the greatest stained-glass artists of the time, Valentin Bousch.
An introduction to the Hill Art Foundation inaugural exhibition Maybe Maybe Not
Through an Urban Lens Urban landscapes are known for cultivating a vibrant and enriching culture that inspires a powerful craving among its citizens to create and inspire others.
New Yorker, November 2019
Speed Walking with the Artist Charles Ray
Christopher Wool is an American artist who is known for his paintings on large canvases, often employing black and white text.
Brooklyn Rail review of Charles Ray exhibition. December 2019.
Julie Belcove, formerly of the Financial Times, interviews J. Tomilson Hill before the opening of the Hill Art Foundation. November 2018.
Italy in the 1600s or 17th century was known for many things that still have an impact on the world today, such as art and religion.
Christopher Wool’s painting, Untitled, created in 2001, offers a complex composition filled with emotion and open to many interpretations.
In discussions of individual art pieces, the subject of an artwork’s meaning usually enters the conversation at some point or another.
J. Tomilson Hill: Warrior, dealmaker, collector
Christopher Wool’s abstract paintings often bring the viewer to question what constitutes art.
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