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Right now, a wide-ranging curation culled from Tajima’s recent series is on view in “Super Natural” a recent exhibition at Hill Art Foundation in New York (through July 26). At the heart of the show is new work in Tajima’s “Negative Entropy” series of woven paintings. This ongoing series of works employs segments of auditory spectrograms, which Tajima crops in on and assigns colors. The textiles are produced with a textile lab in the Netherlands, one of the only facilities with looms large enough to bring Tajima’s visions to large-scale reality. In “Super Natural” Tajima debuts her largest work in the series to date, entitled Negative Entropy (Inscape, Breathing Exercise, Full Width, Burgundy, Hex) (2024).

Katie White, Artnet

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).

Daniel Cassady, ARTnews

“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.”

Miguel Morales, T Magazine

“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.”

Jason Farago, The New York Times

“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.”

Andy Hall in conversation with Tom Hill , Blau International, Summer 2020
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