EXPO Chicago: Booth 139

Navy Pier, April 11 – 14, 2024 
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  • Navy Pier
    600 E Grand Ave
    Chicago, IL 60611
    April 11–14, 2024

    Thursday, April 11 | Noon-9PM (Invitation Only)
    Thursday, April 11 | 6PM-9PM (Opening Night, Limited Availability Ticket)
    Friday, April 12 | 11AM-7PM
    Saturday, April 13| 11AM-7PM
    Sunday, April 14 | 11AM-6PM

    Kasmin is pleased to return to EXPO Chicago with a group presentation of new and historic works representative of the gallery’s leading modern and contemporary program. On view at Booth #139 from April 11–14, 2024 will be works by Diana Al-Hadid, Alma Allen, Theodora Allen, Sara Anstis, Tina Barney, William N. Copley, Ian Davenport, Jimmy Ernst, Liam Everett, Leonor Fini, Jane Freilicher, vanessa german, Daniel Gordon, David Hockney, Elliott Hundley, Elaine de Kooning, Matvey Levenstein, Lyn Liu, Henri Matisse, Robert Motherwell, James Nares, Robert Polidori, Elliott Puckette, Mark Ryden, Jan-Ole Schiemann, Bosco Sodi, Dorothea Tanning, Bernar Venet and Andy Warhol.

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  • Diana Al-Hadid Even the Mountains Were Surprised, 2024 polymer gypsum, fiberglass, steel, plaster, metal leaf and pigment 54 x 42...
    Diana Al-Hadid
    Even the Mountains Were Surprised, 2024
    polymer gypsum, fiberglass, steel, plaster, metal leaf and pigment
    54 x 42 inches
    137.2 x 106.7 cm
     
    A new panel painting by Syrian-born, New York-based artist Diana Al-Hadid (b. 1981) will be featured, related to a recent series of wall reliefs that the artist presented to critical acclaim in her first solo exhibition at Kasmin in late 2023. With subtle art historical references culled during the artist’s time studying Islamic miniatures as a Smithsonian Artist Research Fellow in 2021, Al-Hadid’s recent shaped panel paintings are realized through the artist’s controlled dripping of a tinted polymer gypsum over commonplace building materials into a hardened cascade. Blending material and substrate, Al-Hadid’s panel paintings are internationally celebrated for weaving enigmatic narratives that engage ancient and modern civilizations.
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  • Alma Allen Not Yet Titled, 2023 bronze 71 x 67 x 9 5/8 inches 180.5 x 170.2 x 24.5 cm
    Alma Allen
    Not Yet Titled, 2023
    bronze
    71 x 67 x 9 5/8 inches
    180.5 x 170.2 x 24.5 cm
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  • Also on view will be a new large-scale bronze sculpture by Alma Allen (b. 1970), continuing the artist’s ongoing series of wall-based sculpture. Allen shapes his sculptures by hand before using contemporary technology to increase their scale, ultimately retaining a personalized, tactile quality. Related works were recently featured in a site-specific solo exhibition at the Museo Anahuacalli, Mexico City, in 2023, conceived and presented in dialogue with the museum’s collection of pre-Columbian objects. Allen’s third solo exhibition at Kasmin will open at the gallery this May.
  • Theodora Allen Shield (X), 2023 oil on linen in bronze frame 20 x 16 inches 50.8 x 40.6 cm
    Theodora Allen
    Shield (X), 2023
    oil on linen in bronze frame
    20 x 16 inches
    50.8 x 40.6 cm
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  • Sara Anstis Spike skirt, 2023 pastel on paper 11 7/8 x 10 1/4 inches 30.2 x 26 cm
    Sara Anstis
    Spike skirt, 2023
    pastel on paper
    11 7/8 x 10 1/4 inches
    30.2 x 26 cm
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  • Tina Barney The Daughters, 2002 chromogenic color print 30 x 40 inches 76.2 x 101.6 cm
    Tina Barney
    The Daughters, 2002
    chromogenic color print
    30 x 40 inches
    76.2 x 101.6 cm
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  • In anticipation of American photographer Tina Barney’s (b. 1945) forthcoming European retrospective, opening at the Jeu de Paume in Paris this September, the presentation will include work from a key series by the artist. Having gained recognition in the 1980s for exploring familial rituals and intergenerational cultural habits as seen in carefully-composed photographs of her close friends and family in their own intimate environs, The Europeans spans eight years of work (1996-2004), in which Barney’s posed mise-en-scènes capture serendipitous moments among the upper echelons of six European countries. This work and others from the series will be included in Barney’s retrospective at the Jeu de Paume.
  • William N. Copley Untitled, 1973 charcoal on paper 17 7/8 x 17 1/2 inches 45.4 x 44.5 cm
    William N. Copley
    Untitled, 1973
    charcoal on paper
    17 7/8 x 17 1/2 inches
    45.4 x 44.5 cm
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  • Ian Davenport Blossom, 2023 acrylic on aluminum panels with additional floor section 92 1/2 x 62 5/8 x 26 3/8...
    Ian Davenport
    Blossom, 2023
    acrylic on aluminum panels with additional floor section
    92 1/2 x 62 5/8 x 26 3/8 inches
    235 x 159 x 67 cm
     
    A new panel painting by Ian Davenport (b. 1966) will be prominently installed on the booth. Driven by an enduring fascination with the materiality of paint, Davenport has created his signature works by pouring acrylic paint onto a tilted aluminum surface using hypodermic syringes for over two decades. Davenport’s colors, often chosen in reference to major works that define the history of painting, cascade from elegant vertical lines into rich puddles on the gallery floor. His paintings trace an encounter between order and chance, juxtaposing a methodical approach to the line with an experimental assurance in spontaneous color relationships.
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  • Jimmy Ernst Dallas Blues, 1947 oil on canvas 36 x 28 inches 91.4 x 71.1 cm Jimmy Ernst's (1920-1984) painting...
    Jimmy Ernst
    Dallas Blues, 1947
    oil on canvas
    36 x 28 inches
    91.4 x 71.1 cm
     
    Jimmy Ernst's (1920-1984) painting makes explicit the influence the artist drew from the improvised nature of jazz music upon his move to New York from his native Germany. The work sees the artist develop his early biomorphic forms into his signature, linear and geometric style while translating the sonic energy of complex and spontaneous musical chords into the realm of the visual.
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  • Liam Everett Untitled (under the sands), 2024 ink, oil, and sand on linen 60 x 78 inches 152.4 x 198.1...
    Liam Everett
    Untitled (under the sands), 2024
    ink, oil, and sand on linen
    60 x 78 inches
    152.4 x 198.1 cm
     
    Liam Everett’s (b. 1973) new painting elaborates the artist’s ongoing investigation of interactive processes by which mineral substances respond to one another. He employs non-traditional methods to apply—and caustic substances such as alcohol or citric acid to remove—oil paint, ink, and sand on canvas. With laser-focused attention to the subtle behaviors of his materials, Everett blurs the line between artist and alchemist, creating abstract paintings that come to life outside of the bounds of narrative or biography, instead connecting deeply with the enigmas of the natural world.
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  • Leonor Fini Study for Shakespeare's The Tempest, 1965 watercolor on paper 10 5/8 x 6 1/8 inches 27 x 15.5...
    Leonor Fini
    Study for Shakespeare's The Tempest, 1965
    watercolor on paper
    10 5/8 x 6 1/8 inches
    27 x 15.5 cm
     
    The presentation will include watercolors by Leonor Fini (1907-1996), distinguished from a series the artist made to illustrate André du Bouchet’s French translation of Shakespeare’s The Tempest in 1965. Uncovering the working process behind one of a myriad of creative collaborations throughout the artist’s career, the fluidity of Fini’s forms echo the poetic nature of their subject matter and lend to the artist’s distinctly Surrealist visual universe. A solo exhibition highlighting Fini’s expansive oeuvre of paintings, drawings, fashion designs, costumes, artist’s books, and other material will open at the Palazzo Reale, Milan, in Spring 2025.
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  • Jane Freilicher Plants and Fish, 1973 oil on linen 40 x 40 inches 101.6 x 101.6 cm A still life...
    Jane Freilicher
    Plants and Fish, 1973
    oil on linen
    40 x 40 inches
    101.6 x 101.6 cm
     
    A still life by Jane Freilicher (1924-2014), who would celebrate her centennial this year, illuminates the artist's interior world rendered in a distinctive style of painterly representation. Freilicher’s light-swept canvases are instantly recognizable for their framing of everyday objects within the context of the order, or casual disorder, of the artist’s studios in lower Manhattan and Long Island. Often situating the viewer at the threshold of the inside and outside, her scenes are derived from reality but painted into a fiction.
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  • vanessa german a brief recitation on dreaming; notes on form into formlessness, 2024 wood.blackblackblack house paint. Circus quilt. Lace bobbins...
    vanessa german
    a brief recitation on dreaming; notes on form into formlessness, 2024
    wood.blackblackblack house paint. Circus quilt. Lace bobbins from another time-another world, everything is useful, the rage of leaving, the glee of arrival: skateboard, nail model hands, victrola gramophone, where love is always, the heat of wanting/need, lust for and into the atmosphere of the universe, star spangled quilt, head in the clouds, yarn, twine, a bird strapped to the back, porcelain loin cloth as a nod towards performative modesty, Victorian lace pleats, a loft backside, kick-push, hand stitching, the sweet thoughtlessness of flight; a dreamer dreaming and loving you into it all. 
    72 x 18 x 56 inches
    182.9 x 45.7 x 142.2 cm
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  • Citizen artist vanessa german’s (b. 1976) new sculpture features a figure riding a skateboard, energized by the spiritual components that complement its physical materials. Working primarily with assemblage, german sculpts wood and plaster which she then adorns with a range of both found and sourced materials. Binding her art making with her role in community activism, german’s practice spans sculpture, performance, communal rituals, and immersive installation. This presentation anticipates german’s first solo museum exhibition in Chicago, which will open this July at the Logan Center for the Arts at the University of Chicago, where german is currently the inaugural Joyce Foundation Fellow at the Gray Center for Arts and Inquiry.
  • Daniel Gordon Philodendron With Sardines and Lobster, 2023 pigment print with UV lamination 49 7/8 x 40 inches 126.7 x...
    Daniel Gordon
    Philodendron With Sardines and Lobster, 2023
    pigment print with UV lamination
    49 7/8 x 40 inches
    126.7 x 101.6 cm
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  • Daniel Gordon Blue with Sections in Lavender and Grey, 2023 mixed media 19 1/2 x 11 inches 49.5 x 27.9...
    Daniel Gordon
    Blue with Sections in Lavender and Grey, 2023
    mixed media
    19 1/2 x 11 inches
    49.5 x 27.9 cm
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  • Elliott Hundley 11.8.23.1, 2023 oil and collage on linen 54 x 72 inches 137.2 x 182.9 cm
    Elliott Hundley
    11.8.23.1, 2023
    oil and collage on linen
    54 x 72 inches
    137.2 x 182.9 cm
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  • Matvey Levenstein Hope, Faith, Love, 2018 oil on linen 12 x 9 inches 30.5 x 22.9 cm
    Matvey Levenstein
    Hope, Faith, Love, 2018
    oil on linen
    12 x 9 inches
    30.5 x 22.9 cm
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  • Lyn Liu Umbrella carrier, 2024 oil on panel 24 x 36 inches 61 x 91.4 cm A lone figure whose...
    Lyn Liu
    Umbrella carrier, 2024
    oil on panel
    24 x 36 inches
    61 x 91.4 cm
     
    A lone figure whose face is hidden from view carries two red umbrellas over their shoulder in Lyn Liu’s (b. 1993) new painting, deepening the artist’s engagement with the states of isolation that inform the psychological underpinnings of our interpersonal relationships. This voyeuristic perspective offers a lens into the artist’s dreamlike visual universe, populated with absurdist symbols reflective of our social world.
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  • James Nares Go To, 2024 oil on linen 36 x 73 inches 91.4 x 185.4 cm A new painting from...
    James Nares
    Go To, 2024
    oil on linen
    36 x 73 inches
    91.4 x 185.4 cm
     
    A new painting from multidisciplinary artist James Nares’ (b. 1953) ongoing brushstrokes series will reprise one of her most recognizable motifs. Realized with an artist-made brush, Nares creates her brushstrokes in one single sweep, creating an objective record of a fluid movement both carefully choreographed and grippingly spontaneous. The Museum of Modern Art (MoMA) in New York will organize a comprehensive retrospective encompassing five decades of Nares’ film and video work this May, during the course of a solo exhibition of works on paper at Kasmin.
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  • Robert Polidori Sistine Chapel Cleaning Probe #1, Sistine Chapel, Vatican City, Italia, 2019 UV cured ink on Gorilla Glass 60...
    Robert Polidori
    Sistine Chapel Cleaning Probe #1, Sistine Chapel, Vatican City, Italia, 2019
    UV cured ink on Gorilla Glass
    60 x 50 inches
    152.4 x 127 cm
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  • Elliott Puckette Hackamore, 2007 ink, gesso and kaolin on wood panel 54 x 48 inches 137.2 x 121.9 cm
    Elliott Puckette
    Hackamore, 2007
    ink, gesso and kaolin on wood panel
    54 x 48 inches
    137.2 x 121.9 cm
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  • Mark Ryden Lincoln, 2015 graphite on paper 23 1/2 x 18 inches 59.7 x 45.7 cm
    Mark Ryden
    Lincoln, 2015
    graphite on paper
    23 1/2 x 18 inches 
    59.7 x 45.7 cm
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  • Jan-Ole Schiemann Graupapp, 2023 charcoal, ink, gesso and acrylic on canvas 74 3/4 x 88 5/8 inches 190 x 225...
    Jan-Ole Schiemann
    Graupapp, 2023
    charcoal, ink, gesso and acrylic on canvas
    74 3/4 x 88 5/8 inches
    190 x 225 cm
     
    Jan-Ole Schiemann's (b. 1983) energetic constructions are characterized by boldly abstract figures, vivid cumulous color clouds, and an assertive, instinctive use of shape and line. The artist’s complex compositions begin as references drawn from archives of vintage animation and his own meticulous sketches. Using the edge of his rectangular picture plane as the first rule of play, Schiemann begins a game of decision-making, toying with the tension between process and image as he builds layers of charcoal, ink, gesso, and acrylic.
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  • Bosco Sodi Untitled, 2022 mixed media on canvas 28 3/4 x 36 1/4 inches 73 x 92 cm
    Bosco Sodi
    Untitled, 2022
    mixed media on canvas
    28 3/4 x 36 1/4 inches
    73 x 92 cm
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  • Bosco Sodi's (b. 1970) painting captures the artist's ongoing exploration of elemental colors, a primary and essential aspect of his practice stemming from both a somatic response to certain pigments and a scholarly interest in the resonance of color in cultural and political histories worldwide. Combining raw pigment with wood dust and other natural material in a binding medium over canvas, Sodi assembles his work’s preconditions and allows the unpredictable forces of nature to dictate resulting cracks and fissures on the surface. Purple and black act to denote the fifth element or quinta essencia, considered in ancient philosophy to compose the celestial bodies. 
  • Dorothea Tanning K.O.K., 1983 watercolor, graphite and collage with fabric on paper 30 1/2 x 40 1/2 inches 77.5 x...
    Dorothea Tanning
    K.O.K., 1983
    watercolor, graphite and collage with fabric on paper
    30 1/2 x 40 1/2 inches
    77.5 x 102.9 cm
     
    Dorothea Tanning’s (1910–2012) artistic career blossomed in Chicago in the 1930s, where she briefly studied at the Chicago Academy of Art and studied paintings almost daily at the Art Institute of Chicago. Fifty years later, Tanning’s work in watercolor and collage exhibits a sensibility found in her Surrealist painting style, developed over two decades spent in France.
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  • Bernar Venet Acute Angles - Disorder, 2017 collage and oilstick on paper 44 1/8 x 40 1/8 inches 112 x...
    Bernar Venet
    Acute Angles - Disorder, 2017
    collage and oilstick on paper
    44 1/8 x 40 1/8 inches
    112 x 102 cm
     
    Bernar Venet’s (b. 1941) oil stick with collage showcases the artist’s enduring Angles series, related to a monumental steel Angles sculpture currently installed in Chicago’s Grant Park. Venet’s Angles explore the conceptual possibilities that mathematical and scientific information offers art, an interest that has characterized the artist’s practice since the late 1960s. Venet will open a solo exhibition of early work at the Biblioteca Nazionale Marciana during La Biennale de Venezia 2024.
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