Friday, April 10, 2015 6 p.m. 508/510 West 25th Street, New York Pace Gallery is pleased to host a conversation between James Siena, Thomas Nozkowski and Robert Storr. This event is free and open to the public. To RSVP, please email email@example.com or call 212.750.0840. The event will coincide with an exhibition of James Siena's new sculptural works at 508 West 25th Street and an exhibition of Thomas Nozkowski's new oil paintings and mixed media drawings at 510 West 25th
At the heart of Nozkowski’s practice is improvisation, a willingness to take something (anything) and do something else to it. He seems to have been one of the few of his generation to understand Jasper Johns’s declaration: “Take an object. Do something to it. Do something else to it. Do something else to it, etc.” Thomas Nozkowski: New Editions and Related Drawings is on view at Senior & Shopmaker Gallery (210 Eleventh Avenue, Suite 804, Chelsea, Manhattan) through June 16.
Engineers say that machines work with maximum efficiency right before they break. In 2010, the twin-engine art world—institutional display, luxury trade—ran all but frictionlessly. Frou-frous like those of Urs Fischer at the New Museum and Marina Abramović at the Modern, and of Dan Colen at Gagosian and Rob Pruitt at Gavin Brown, seemed immune to judgment, as if untouched by human minds. Money made slobbering love to itself at fairs and auctions, with art as a beard. Substantial shows could feel
Shortly before his exhibition at The Pace Gallery, Thomas Nozkowski and Rail Art Editor John Yau met at the gallery’s warehouse to discuss his new paintings and drawings. John Yau (Rail): I want to begin with the parameters of your painting project, which you had defined by the mid-1970s. By then you had moved from sculpture to painting. Thomas Nozkowski: By 1974 I was painting 16 by 20 inch canvas boards that would be recognizable today as my work. Rail: Along with working on 16 by 20 inch prep
OVER the centuries painters have used drawing to prepare for committing their ideas to posterity on canvas. Paper has been a material for sketching, planning and trying out a composition in advance of the main event. But for an exhibition at the Pace Gallery at 510 West 25th Street in Chelsea that opened this month, the veteran abstract painter Thomas Nozkowski took a different approach. He used drawing as a cool-down exercise rather than a warm-up. The show features 19 pairs of works, each one