Matvey Levenstein Receives Louis Comfort Tiffany Foundation 2022 Biennial Grant
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Kasmin is pleased to announce that Matvey Levenstein has been named a recipient of the Louis Comfort Tiffany Foundation 2022 Biennial Grant. Unrestricted grants have been awarded to 20 artists working in painting, drawing, sculpture, photography, video, craft, and new media. The purpose of the grants are to give artists the opportunity to produce new work and push the boundaries of their creativity. A full-color catalogue documenting the work of grant recipients will be published this spring.
Established in 1918 by Louis Comfort Tiffany, son of the founder of Tiffany & Company, the Foundation remains one of the largest single sources of monetary grants to artists working in America today. The Foundation–one of the earliest artist-endowed foundations and the first created by an artist during their lifetime– began as a summer residency for artists and craftspeople, at Laurelton Hall, Tiffany’s estate at Cold Spring Harbor, Long Island. Following Tiffany’s death in 1933, the residency program continued until 1946, when the estate was sold, and the Foundation shifted its mission.
In 1980, Angela Westwater, president of the Tiffany Foundation, initiated the biennial competition that continues today. Beginning with the 2022 grant cycle, the Foundation’s programs are administered by the National Academy of Design. The National Academy’s history with the Foundation dates to 1880, when Louis Comfort Tiffany was honored by being elected as a National Academician.
Find more information about the Louis Comfort Tiffany Foundation here. -
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Alma Allen in Art Basel Magazine
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Elliott Puckette: Unfolding reviewed in The Brooklyn Rail
by Ekin Erkan November 2024Elliott Puckette’s eleventh solo exhibition at Kasmin Gallery, Unfolding, includes two bronze sculptures and eight ink, gesso, and kaolin on wood panel paintings. The latter’s gessoed grounds and ink base layers are applied in marbled monochromatic washes of swirling aniline grey and grisaille silver. Where these iron clouds break, uneven crepuscular cleaves of dusted alabaster light splinter through like lightning. Each work is marked by white razor blade arcs—Puckette’s signature lines. The gyrations of these serpentine, lineal furrows are first etched and then deepened with cross-hatching as Puckette further subtracts the line from the wood panel, the recesses making negative space material. -
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