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Friedrich Kunath - You Told That Joke Twice, 2024-2025
Agnes Martin: Innocent Love, Pace Gallery, New York, NY, November 7 – December 20, 2025
Saloua Raouda Choucair, "Plus ou Moins," 1951,
Oil on board, 67 cm × 93 cm (26-3/8" × 36-5/8").
Courtesy: Pace Gallery
03.25.26 Sam Gilliam Stitched at Pace Gallery
Tara Donovan (American, b. 1969)
Stratagems series - 2024
[sculptural totems made of CD-Roms]
@ Pace Gallery, New York, USA
© Tara Donovan - More info here
Milestone Monday: Louise Nevelson
On this day, September 23, in 1899, artist and sculptor Louise Nevelson was born in what would later be Pereiaslav, Ukraine. Her family emigrated to the United States in 1905 and settled in Rockland, Maine. Nevelson married in 1920 and moved to New York City where she began to study art, singing, and other creative pursuits, much to the chagrin of her husband's wealthy family. She eventually came to focus on sculpture, becoming renowned for her wood collages famously painted all one color—most often black. Her work can be found in over 200 museums and public spaces across the world.
Nevelson also cultivated a personal style that was second-to-none, dressing herself in sumptuous fabrics and patterns accompanied by dramatic makeup. In 1971 she remarked about life in general that:
"In the end, as you get older and older, your life is your life and you are alone with it. You are alone with it, and I don't think that the outside world is needed. It doesn't have much influence on me, as an artist, or on us as individuals, because one cannot be divorced from the other. It is the total life. Mine is a total life."
The images of Nevelson and her work shown here are from a collection of booklets and prints titled Louise Nevelson Remembered: Sculpture and Collages published by the Pace Gallery in 1989.
View more Milestone Monday posts.
-- Alice, Special Collections Department Manager
Robert Indiana: The Source, 1959–1969, currently on view at Kasmin, presents a fascinating selection of the artist’s work from that decade. Several of his well known paintings like LOVE (pictured above) are included, but it is interesting to see his lesser known work as well as the progression in his work throughout this period.
From the gallery about the exhibition-
…Featuring 20 works drawn exclusively from the artist’s personal collection as endowed by Indiana to the Star of Hope Foundation, the exhibition includes an example from the artist’s first edition of LOVE sculptures, conceived in 1966 and executed between 1966—1968, and a vitrine display of archival materials including some of the artist’s journals. This exhibition marks Kasmin’s first collaboration with the Star of Hope Foundation, which was established by the artist in his lifetime, and the gallery’s eighth solo exhibition of work by Indiana since 2003.
Robert Indiana: The Source, 1959–1969 chronicles the Minimalist origins of Indiana’s signature use of signs, symbols, words and numbers. Pairing canonical works with those rarely seen by the public, the exhibition provides a deeper understanding of Indiana as an artist whose output remains emblematic of American culture. The paintings on view demonstrate the personal iconography the artist ascribed to his artwork: as his peers withdrew from the aesthetics of self-expression, Indiana embarked on a career-defining inquiry into the power of symbols to represent meaning. Organized thematically, the exhibition charts Indiana’s influential depictions of words and numbers in bold colors through his early abstractions, reflections on his personal history and the stages of life, and the poetic inevitability of transcendence—a return to the source.
From the gallery about LOVE and LIP (pictured above)–
After discovering a trove of nineteenth-century packaging stencils in 1960, Indiana began incorporating words and numbers in his paintings, spearheading the adoption of commercial advertisement as a language of art. LIP (1960–61), an early example of a single word painting, features the title word’s yellow letters at the center of two intersecting orbs, whose contours suggestively form a pair of red lips. Unraveling the distinction between sign and symbol, the composition suggests a kiss, a universal bodily expression of love.
More selections and information from the gallery below-
“October Painting”, 1959-60, Oil on canvas
Indiana began this composition, which depicts the shadows of a dracaena plant, in October 1959. “This, I feel, is a very seminal painting,” he wrote in a journal entry the following December, seeking to distinguish his own visual language from artists Jack Youngerman and Ellsworth Kelly.
“Ra”, c.1961, Oil on canvas
From the gallery-
After painting a series of orbs in 1959, Indiana revisited the theme in Ra (c. 1961), a triptych arranging a number of red, blue, and green circles in flattened pictorial space. This work’s title reflects Indiana’s early interest in mythology, referencing the Egyptian sun god Ra, historically depicted with a red solar orb and cobra over his head.
Circles appear in Indiana’s work as early as 1958 and resound through paintings such as Mother and Father (1963-66) and Hallelujah (Jesus Saves) (1969). The arrangement of orbs in Ra suggests Indiana’s fascination with sequences, an avenue he would explore in paintings of numbers including Cardinal Nine (1966), on view nearby.
“Cardinal 9”, 1966, Oil on canvas
Indiana’s Cardinal Numbers series (1966) depicts the numbers one through zero in red, blue, and green. Adopting the typography of a business calendar, Indiana conceived of each number to represent a stage of life. Cardinal Nine represents the near end of the sequence, just before zero. The palette held sentimental significance for Indiana, who recalled memories of the red and green signage of Phillips 66, the gas company where his father worked, against the open blue sky.
“Mother and Father”, 1963-1966, Oil on canvas
From the gallery-
Indiana’s extraordinary diptych Mother and Father (1963-66) depicts the artist’s scantily dressed adoptive parents entering a Model T Ford within two circles, as if observed through a pair of binoculars. Conceived as the first to depict his parents in each of the four seasons, Indiana only realized one iteration of the series, set in the winter. Details of the vehicle’s license plate allude to Indiana’s conception ahead of his birth in September 1928, as if to mythologize the artist’s biography.
In an accompanying artist statement, Indiana described this painting as an essential part of his celebrated American Dream series (1961-2001), which earned Indiana’s first major recognition after early acquisitions by The Museum of Modern Art, Van Abbemuseum, Art Gallery of Ontario, Hirshhorn Museum and Sculpture Garden, and elsewhere.
Indiana exhibited this painting in an early state in 1964, later adding its stenciled lettering in 1966. He continued to exhibit the work extensively, including in the São Paulo Biennial in 1967 and his traveling institutional retrospectives of 1968, 1977, 1982, and 2013.
“August Is Memory Carmen”, 1963, Oil on canvas
From the gallery-
The number 8 held special resonance for Indiana, whose mother, Carmen, was born in the month of August. August Is Memory Carmen (1963) incorporates the title of a lyric poem Indiana wrote in 1953, four years after her death. Indiana depicted her portrait alongside his father, Earl, in Mother and Father (1963-66), installed nearby.
This exhibition closes 3/29/25. It is presented in dialogue with Pace Gallery’s upcoming exhibition Robert Indiana: The American Dream, which will open May 9, 2025.
