George Rickey in New York: On Park Avenue
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It has been over twenty years since George Rickey (1907–2002) installed the first public sculpture on Park Avenue, starting a tradition that has continued with work by various renowned artists. This year Rickey returns to New York with nine sculptures on Park Avenue and three works in the Kasmin Sculpture Garden adjacent to The High Line, making this the largest ever multi-site exhibition of the artist's monumental works in the city.
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George Rickey: Monumental Sculpture on Park Avenue is now on view along the central median on Park Avenue between 52nd and 56th Streets. Staged in collaboration with The Sculpture Committee of The Fund for Park Avenue and NYC Parks’ Art in the Parks program, the major public installation features a collection of Rickey's classic kinetic sculptures—many of which have not been exhibited in several years.
Breaking Column II (1989), one of Rickey's most important and complex works, towers over the street at 25 feet tall, playfully disrupting the stasis and calm demeanor of a classic architectural form, as its discrete components fall apart and reassemble on the wind’s whim.
The artist's exploration of cyclical movement is also seen in Space Churn with Octagon (1971), a series of concentric forms that each spin at different speeds, creating varying patterns. On verdant Park Avenue, the presentation vividly demonstrates the artist's interpretation of the dialogue between the built and natural worlds.
Opening Thursday, September 9, the concurrent exhibition in the Kasmin Sculpture Garden will be viewable from the High Line at 27th Street through the duration of the presentation on Park Avenue. -
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vanessa german: GUMBALL—there is absolutely no space between body and soul
April 3 – May 10, 2025 509 West 27th Street, New York, 514 West 28th Street, New YorkKasmin presents its second solo exhibition of new work by artist vanessa german (b. 1976), which debuts related bodies of sculpture across two of the gallery’s spaces in New York. GUMBALL—there is absolutely no space between body and soul deepens german’s singular approach to sculpture as a spiritual practice with the power to transform lived experience. Both series comprise mineral crystals, beads, porcelain, wood, paint and the energy that these objects bring to life to form monumental heads and figures in the act of falling. Together, each body of work envisions the transformation of consciousness necessary to imagine a new world. -
Helena Foster: Time Honoured
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