The staff of Pace Gallery notes with sorrow the passing of renowned artist Robert Ryman. We are deeply honored that he graced us as part of the Pace family. We mourn his loss, but celebrate the never-ending legacy of his art and its impact on how we see the world. Susan Dunne, Pace Gallery President Arne Glimcher, Pace Gallery Founder Milly Glimcher, Pace Gallery Founder Marc Glimcher, Pace Gallery President and CEO
Don't miss the launch of Robert Ryman, published by the Sackler Institute at the Dia Art Foundation. The launch will take place on Saturday, April 29th at 2:30 PM with a conversation between two of Ryman's sons, Cordy and Ethan Ryman, and Dia deputy director and chief curator Courtney J. Martin. Find out more here.
Robert Ryman is on view at the Museo Jumex, having traveled from a presentation at Dia: Chelsea in 2016. The exhibition looks at five decades of Ryman's work in a multitude of media, mapping the course of his continued artistic experimentation. Robert Ryman will be on view through April 30 at the Museo Jumex in Mexico City. For more information, visit the museum's website.
The Dia Art Foundation presents an exhibition of nearly fifty years of the work of Robert Ryman, one of the most important artists of the postwar period. Further to his 1993 exhibition at The Museum of Modern Art, this show will provide the public a chance to see paintings and sculptures that have rarely traveled. “His work is one of those bodies of paintings and sculpture that you need to see in quantity, to get a sense of the rhythm and the seriality and the differences amid the similarities
Pace London is pleased to announce that 'Love Story-Sammlung Anna & Wolfgang Titze' at the Belvedere Museums (21er Haus and Winter Palace) Vienna, features numerous works by the gallery's artists. Kevin Francis Gray’s sculpture, India Standing, is featured as well as works by Nigel Cooke, Adrian Ghenie, Donald Judd, Sol LeWitt, Robert Mangold, Agnes Martin, Adam Pendleton and Robert Ryman. The exhibition opened on the 15th June and will run until the 5th October 2014. The Winter
Pace Gallery is delighted to announce the opening of a new space, Chesa Büsin, in the historic city of Zuoz in the Engadin valley in Switzerland. The inaugural exhibition Carte Blanche traces fifty-four years of the gallery’s history and feature works in which white is the dominant shade by artists including: Alexander Calder, John Chamberlain, Tara Donovan, Robert Irwin, Lee Ufan, Robert Ryman, Yoshitomo Nara, and Hiroshi Sugimoto. Carte Blanche will run from 20 February through 30 March
Is the live hermit crab inhabiting a shiny replica of Brancusi’s sculpture “Sleeping Muse” in Pierre Huyghe’s aquarium project “Recollection” an artist overwhelmed by history or a dealer imprisoned in the golden cage of Frieze Art Fair? At Foksal Gallery, is Pawel Althamer’s dejected skeletal goat, mourning one lost trainer in the pose of Rodin’s “Thinker”, a collector who has missed the boat – specifically the yacht that prankster Christian Jankowski is trying to sell for €80m as an artwork? An
WASHINGTON, DC.- Robert Ryman: Variations and Improvisations, the artist’s first solo show in DC, presents twenty-five paintings that demonstrate the diversity of Ryman’s pictorial experimentation. The small works (almost all are between seven- and ten-inch squares) span the last fifty-three years of the eighty-year-old painter’s career. The paintings represent a striking variety of surfaces and materials including oil on canvas, pastel graphite and charcoal on paper, vinyl polymer paint on alum
In February, the National Gallery unveiled a suite of black-on-black paintings by Mark Rothko. In May, it was the all-blue pictures of Yves Klein at the Hirshhorn. Now it's June, and we're being given a feast of white in two new shows at the Phillips Collection. "Pousette-Dart: Predominantly White Paintings" looks at one 1950s moment in the career of a lesser-known abstract expressionist. "Robert Ryman: Variations and Improvisations" is, incredibly, this town's first look at an artist famous for
Robert Ryman is always testing things. In 1953, while working as a guard at the Museum of Modern Art, he bought some paint and brushes because he “wanted to see what the paint would do, how the brushes would work. That was the first step. I just played around. I had nothing really in mind to paint. I was just finding out how the paint worked, colors, thick and thin, the brushes, surfaces.” Not much has changed since that first foray nearly 60 years ago. Despite all that he has done, or perhaps b