Thomas Nozkowski

Thomas Nozkowski developed a singular approach to painting that rejected established aesthetic conventions. Anything and everything in his environment—an object, a surface, a landscape, a quality of light—could capture his curiosity and attention, becoming the source material for a painting.

Published on the occasion of the exhibition at Pace Gallery in New York, Thomas Nozkowski: Everything in the World centers on a formative period of the artist’s career during which he set out specific aesthetic terms for his practice. The 1970s and 1980s saw major changes in Nozkowski’s personal life, including the birth of his son and the purchase of his first property in New York’s Hudson Valley—a place that would become an enduring inspiration for his work. Focusing on his practice during these decades, this publication presents the artist’s signature, intimately scaled 16 x 20” canvas compositions alongside several large-scale paintings that have not been publicly exhibited in decades and three painted wood sculptures. With a new essay by Martin Clark, director of the Camden Art Centre in London, Everything in the World speaks to the exploratory ethos that guided Nozkowski over the course of two decades.