The World According to...

Feb 13 – Mar 23, 2019
New York

"Don’t we need people who can see things from different points of view? Lots of artists, and all kinds of artists, they look at life from another angle."

David Hockney

Exhibition Details

The World According to...
Feb 13 – Mar 23, 2019


32 East 57th Street
New York
Tues – Sat, 10 AM – 6 PM


Rita Ackermann
Forrest Bess
Katherine Bradford
Alexander Calder
Leidy Churchman
Celeste Dupuy-Spencer
David Hockney
Peter Hujar
Alex Katz
Koo Jeong A
Thomas Nozkowski
Arlene Shechet
Alfred Stieglitz

Bringing together a formidable group of artists, from historical to contemporary figures, the works in this exhibition reflect a singular vision that examines life from another angle. With works in painting, sculpture, video and photography, each frame, each gesture, reveals an extraordinary vision of the ordinary—those things that go unnoticed, and those that can only be discovered with a simple shift in perspective.

In 1961, Susan Sontag recalled Jean-Paul Sartre’s notion of “cosmophagy,” or the idea of “devouring of the world by consciousness,” as an explanation for the singularity of artistic vision that is unique among us. Taking that idea as inspiration, the exhibition points to the rich and poetic territory that exists between memories, images, and dreams. The artists in this show operate as interpreters of our complex visual world filled with screens, digital images, photographs, artworks, and the landscape itself.


Thomas Nozkowski, Untitled (2-22), 1982, oil on canvasboard, 16" × 20" (40.6 cm × 50.8 cm) © Thomas Nozkowski

A tension between abstraction and figuration is also present throughout the exhibition as materials and reference points are transformed, baring only traces of the original sources of inspiration. Thomas Nozkowski’s paintings draw from personal experience: objects, ideas, books, places, and, more often than not, his reverent walks through nature. Expanding the possibility of landscape painting and the physical presence of an abstract form with each negotiation of the picture plane, Nozkowski’s paintings offer a view of the world that is both rooted in the subjective terrain of experience and an otherworldly space of art and vision.


Arlene Shechet, Living in the Castle, 2016, glazed ceramic, hardwood, 63" × 26" × 16-1/2" (160 cm × 66 cm × 41.9 cm) © Arlene Shechet

Arlene Shechet’s bulbous stacked sculptures use clay, wood, steel, and color to offer a view of the world that is full of possibility and simultaneously coming together. Three works from Alfred Stieglitz’s series, Equivalents (1925–34) depict the night sky and bring clouds into the realm of abstraction. Similarly, a series of watercolor paintings by Koo Jeong A explore color and form in a meditation on the natural world. The jewel-like enigmatic images in fact picture a constellation of basalt rocks that are a continuation of the artist’s installation of geological formations in the DMZ, a protected conservation wetland between North and South Korea.


Katherine Bradford, Brothers, 2017, acrylic on canvas, 80" × 68" (203.2 cm × 172.7 cm) © Katherine Bradford

Figuration as transformation is present in the dreamlike visionary worlds of three painters: Celeste Dupuy-Spencer, Katherine Bradford, and Leidy Churchman. In Bradford’s paintings, monumental figures in hues of purple, orange, and pink transform a bodily presence into an auratic object—embraced, hovering, and occupying the subjective space of memory with enigmatic energy. Similarly, Churchman’s diverse paintings—here exemplified in the surreal floating image of Faultless Aspect (2017) and the large, text-based work Nontheistic Dharma: Norms in a Nutshell (2016)—suggest a relationship with the spiritual world that is grounded in lived experience. Dupuy Spencer’s new paintings, created especially for this exhibition, expound on these themes, referring to the transcendence of iconographic paintings in images that push and pull between the present and a distant vision.

The centerpiece of the exhibition is David Hockney’s Seven Yorkshire Landscapes (2011), an 18 screen video installation shown here for the first time in New York, in which eighteen cameras, fixed to Hockney’s car, recorded drives through the pastoral landscape of Yorkshire. The myriad and shifting perspectives of a journey through the verdant countryside displayed in this multi-screen grid articulates the wonder of seeing things from different points of view. For Hockney, these multiple perspectives “force the eye to scan, and it is impossible to see everything at once… [It] gives back the choice to the viewer, and hence…brings about possibilities for new narratives.”


Installation view, The World According to..., Feb 13 – Mar 23, 2019, Pace Gallery, New York © David Hockney; Thomas Nozkowski; Arlene Shechet