For more than three decades, American artist Kiki Smith (b. 1954, Nuremberg) has created a multifaceted practice that deals with the political and social as well as the philosophical and spiritual aspects of human nature. Her fearless investigation of the body is a complex consideration of the human condition, addressing topics of age, death, wounding and healing, resuscitation, fragmentation, birth, sexuality, gender and memory. In addition to sculpture, Smith works in a variety of other media,
Author Heidi Julavits profiles Kiki Smith in the August issue of Interview Magazine. The artist discusses her early days working in New York in the 1970s, how she relishes navigating the difficulty of her artistic practice, as well as the intensely personal nature of her work: "My work isn't didactic. It's not like I'm trying to say, 'This is how the world should be.' I'm trying to synthesize my experience." To read the full interview, click here.
Pace is honored to congratulate Kiki Smith, who has been awarded the title of Honorary Royal Academician from the Royal Academy of Arts in London, UK. The Royal Academy of Arts is governed by 80 Royal Academicians who are all practicing painters, sculptors, engravers, printmakers, draughtsmen and architects, and are elected to the post by their peers. They form a governing body which helps steer the Academy's vision, supports activities and plans for the future. Honorary Academicians are dist
Pace Gallery is pleased to announce the inclusion of artists Kiki Smith and Liu Jianhua to participate in the 57th International Art Exhibition – La Biennale di Venezia, curated by Christine Macel and taking place at the Giardini and the Arsenale, from May 13 through November 26, 2017. VIVA ARTE VIVA will unfold over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giar
Pace artist Kiki Smith has been selected to participate in Viva Arte Viva, a group exhibition curated by Christine Macel. This show will mark Smith's first exhibition in Venice since Kiki Smith: Squatting The Palace, a film and installation presented in 2005. The exhibition is a part of the 57th Venice Biennale that will be on view from May 13 through November 26, 2017. For more details, visit the Biennale's website.
Kiki Smith is featured in an ongoing exhibition at the Cathedral of St. John the Divine. The exhibition features contemporary art exploring the language, symbolism, art, and ritual associated with the historic concept of the Christ image and the divine. For more information about the venue’s artistic program, click here.
Kiki Smith will be honored at the International Sculpture Center’s 2016 Lifetime Achievement Award Gala on February 29, 2016. The ISC will celebrate Smith's three decade career which includes over 150 solo exhibitions. Congratulations Kiki Smith! Learn more about the event from the International Sculpture Center.
Vik Muniz, Kiki Smith, Adam Pendleton and Loris Gréaud are featured in the Collection Lambert’s ambitious project begun late May 2014 entitled The Disappearance of the Fireflies, an exhibition staged at the emblematic heritage site of Avignon, in the South of France, the Sainte-Anne Prison. Kiki Smith’s Girl with Globe, 1998, is among the highlights. The Disappearance of the Fireflies remains on view until 25 November 2014. More details are available here.
Pace Gallery is pleased to announce New York exhibitions for spring 2014. Pace is delighted to present solo exhibitions of work by artists: Sol LeWitt Keith Sonnier Richard Tuttle Kiki Smith Robert Mangold Tara Donovan Joel Shapiro Hiroshi Sugimoto The gallery's acclaimed exhibition, "Mingei: Are You Here?," curated by Nicolas Tremblay, will travel from Pace London to New York this March. Pace will also continue its longstanding tradition of one-artist
Pace is delighted to announce its participation in the 2013 edition of Foire Internationale d’Art Contemporain (FIAC), taking place at Paris’s Grand Palais from October 24 – 27, 2013. Featuring French artists Jean Dubuffet and Loris Gréaud alongside recent works by leading American, Asian, and European artists, the gallery’s stand (0.A44) will include photographs, works on paper, paintings, and sculpture.
Kiki Smith joins Louise Bourgeois, Camille Claudel, Berlinde de Bruyckere, and Jana Sterbak in the summer exhibition Les Papesses at the Collection Lambert, Palais des Papes in Avignon, France from 9 June – 11 November 2013. The exhibition features sculptures by the five female artists. For more information please click here.
Pace is pleased to announce its inaugural participation in SP-Arte, taking place at the Pavilhão Ciccillo Matarazzo, in São Paulo from 4 – 7 April 2013. The gallery’s booth (G2) will include Joel, a large-scale oil-on-canvas portrait of American sculptor Joel Shapiro by Chuck Close; an elegant sculpture by Alexander Calder; a stained glass sculpture homage to the legendary Brazilian architect Oscar Niemeyer by Brian Clarke; and a painting by Mark Rothko. The gallery is proud to feature work
Pace presents Kiki Smith’s recent bronze sculptures at the ADAA: The Art Show at the Park Avenue Armory, New York. Kiki Smith: Affinity features cast-bronze birds overlaid with gold, silver, and colored leaf; shimmering friezes of stars; dark wolves; and a blue moon. Extending Smith’s interests in animal imagery and the interdependence and vitality of all living things, the works represent a deeply personal and spiritual celebration of the natural world. Some of the sculptures were first pres
Pace is pleased to participate in the inaugural EXPO CHICAGO, The International Exposition of Contemporary/Modern Art and Design, September 20—23. Please visit us at Navy Pier, 600 E. Grand Avenue, Booth 510. Highlights include Kiki Smith’s Corsage, 2011, a delicate bronze with gold leaf wall-mounted sculpture that continues the artist’s explorations of the human condition, the body, spirituality and nature; a shimmering mylar sculpture by Tara Donovan from 2009; a dynamic anthropomorphic cast b
"Streaming Spirits" is the evocative title of a show of new prints by Kiki Smith and Valerie Hammond organized by curator Crista Cloutier at Galerie Pfriem at the Savannah College of Art and Design's Lacoste, France, campus [through Sept. 1]. The exhibition, loosely based on Victorian "ghost" photography (in which spirits were putatively captured on film), is only fitfully vested in the supernatural; the artists are more concerned with human energy. Incidentally, Lacoste is the site of the chate
JOSEPHINE BAKER IN A LOT The artist Kiki Smith describes her latest project, “Chorus,” opening May 23, as “an intersection between medieval pageantry and an early 1920s Busby Berkeley film.” She has sprinkled what is called the Last Lot — a 70-by-100-foot empty slice of theater district real estate at 46th Street and Eighth Avenue — with stained-glass stars, a nostalgic nod to the glamour of old Broadway. An etched metal figure of Josephine Baker will stand amid the star sculptures. “The history
"I wish Kiki Smith had been my biology teacher." That's what I can't help thinking as I take my first enthusiastic looks around "I Myself Have Seen It: Photography and Kiki Smith" at the Scottsdale Museum of Contemporary Art. The experience of entering the first of three rooms (and the one most concerned with nature themes) is not unlike walking into a biology teacher's classroom — one who's been around long enough to have a menagerie of empty mayonnaise jars filled with things, glass gallon jar
Kiki Smith came to prominence as an artist in the early 1990s with sculptures that accomplished the seemingly impossible: They took the oldest subject in art, the human body, and made it over in a strikingly contemporary way. In her slumped, crouching and introverted figures made of beeswax and bronze, Ms. Smith broke not only from the lineage of the heroic human figure, but also from the example of her famous father, Tony Smith, who worked in an austere, Minimalist vein. In doing so, Ms. Smith
With compact fluorescents and retro Edison bulbs jockeying for shelf space, traditional incandescents have lost their allure. But for much of the last century, the simple technology has not only illuminated artists' studios but also starred in the artworks themselves. The Pace Gallery traces the bulb in its many iterations: ghostlike in a Hiroshi Sugimoto photograph, aglow in a Francis Bacon still life, and shattered in a soft sculpture by Claes Oldenburg and Coosje van Bruggen. The show is a br
Walking up to the High Museum in Atlanta, Georgia, you can't help but notice the current main attraction: the building's impressive Richard Meier/Renzo Piano-designed white facade is splashed with colorful posters advertising the huge "Picasso to Warhol" exhibit. MutualArt recently visited the prestigious institution, but our appetite that day wasn't for more Picassos and Warhols; we were looking for something different, more unique, more... "out there." Luckily, as the leading art museum in the
New York “Soft Machines” THE PACE GALLERY 510 West 25th Street July 14–August 26 Evoking William S. Burroughs’s 1961 novel The Soft Machine—which imagined the fate of a world controlled by forces like sex, violence, drugs, and fierce cultural hegemony—the sixteen works in “Soft Machines” illustrate the way these same forces insidiously direct day-to-day experience and can subsequently control an individual’s fate. Through the Claw, 2011, a performance by Kate Gilmore, debuted during the opening
Five women dressed in pastel spring dresses and slingbacks trudge through mounting piles of slippery material as they dig their hands, elbows and feet into a 7,500-pound clay cube, carve out a piece and hurl it at a wall. As a crowd smiles on, the gesture creates a satisfying thud. This was the scene last week as Kate Gilmore debuted a performance, Through the Claw (2011), for the opening of The Pace Gallery's group show "Soft Machines." For Gilmore, the performance is "less about endurance and
Continuing to assemble deep collections of an elite group of contemporary artists while also building its print holdings, the High Museum will announce Tuesday the acquisition of 56 prints by Kiki Smith, The Atlanta Journal-Constitution has learned. Adding the pieces by the New York artist, whose feminist and politically themed works often deal with birth, death and the fragility of the body, allows the High to “leapfrog to the forefront of museums who collect Kiki Smith’s work,” High chief cura
Pigeons roosted near the 70-foot ceiling, the stained-glass windows were broken and the pews were thickly layered with dust. “It was a wreck,” said Roberta Brandes Gratz of the Eldridge Street Synagogue when she saw it in 1982. “I walked in and said, ‘If we don’t save it, we’d have to reinvent it.’” A journalist at the time, Gratz went on to found the Museum at Eldridge Street and buttonhole donors to restore the 19th- century Moorish-revival temple on Manhattan’s Lower East Side. “You can’t tel
It's taken 24 years and $18.5 million, but this weekend the Museum at Eldridge Street will unveil the conclusion of its restoration of the Eldridge Street Synagogue: a central stained-glass window co-designed by artist Kiki Smith and architect Deborah Gans. Measuring 16 feet in diameter, the window is the only 21st-century element in the 1887 synagogue, which was renamed the Museum at Eldridge street in 2008, though it still supports a small congregation. The museum has focused on the wave of Je
“Lodestar” by Kiki Smith—recently shown at The Pace Gallery—should be seen as a companion installation to “Sojourn,” currently on extended view at the Brooklyn Museum of Art. Both reveal a certain progression in the artist’s ideas, technical involvement, and use of materials. Although “Lodestar” (formerly titled “Pilgrim”) appears more refined and in many ways less divergent than “Sojourn,” the Pace installation of drawings on multiple panels of translucent glass (Glasmaleri) exemplifies the art
Kiki Smith’s first major New York gallery exhibition in eight years features mouth-blown stained-glass panels depicting the cycle of a woman’s life. This show is concurrent with her exhibition "Sojourn" at the Brooklyn Museum of Art, on view through September 12, 2010, and "I Myself Have Seen It: Photography in the Work of Kiki Smit"h at the Henry Art Gallery, Seattle, through August 15, 2010.
If I Could Say This With My Body, Would I. I Would by Anne Waldman and Kiki Smith origin organza “spurned as a feminist” so we think so we march on Sojourner Truth sold with a flock of sheep for $100 Ain’t I A Woman? that was like to think a mordant time ago to be poet or assassin or abolitionist rustling the assemblages one such my body might offer as one does these parts & feminists needing people our colors cling to as they do our “outed” artist spirit & spike in the heart & in te
“YOU have to hit the ground running,” the artist Kiki Smith said recently, referring to her process. “You have to have multiple things happening, so you’re not just standing around.” It’s hard to imagine this is much of a risk for Ms. Smith, 56. So far this year, at least, she has hardly stood still. Having recently completed a 20-year, $18.5 million restoration, the historic Eldridge Street Synagogue, on the Lower East Side of Manhattan, will unveil the new rose window — seen in a recent render
TIME 100: The People Who Shape Our World KIKI SMITH Delighting in the Debased By CHUCK CLOSE Thursday, May 4, 2006 In the face of an era (now more than 25 years in duration) dominated by appropriation over invention and innovation, what are we to make of the career of Kiki Smith? Her work is the epitome of innovation, invention and unique personal vision. While many artists, especially sculptors and installation artists, are steadfast members of a "slacker" generation, Kiki, 52, embraces craft,