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@richardgraygallery

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Chicago + New York | Est. 1963

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FOR IMMEDIATE RELEASE | “I think it’s what we need today. New looking fresh pictures of a very beautiful world.” – David Hockney

Five of the world’s leading galleries are coming together to present 20 Flowers and Some Bigger Pictures, an unprecedented international exhibition by David Hockney. The global exhibition will be jointly presented this fall and winter across five cities: Annely Juda Fine Art in London; Galerie Lelong & Co. in Paris; GRAY in Chicago; L.A. Louver in Los Angeles; and Pace in New York.

The exhibition at GRAY Chicago (2044 West Carroll Avenue) will open with a public reception on Friday, November 4, 2022, from 5-7 PM CDT, and be on view November 4 – December 23, 2022.

20 Flowers and Some Bigger Pictures presents works created by Hockney in 2021, expanding on a series of iPad paintings in 2020 while quarantining at his studio and residence in Normandy, France. Inspired by his daily observations, Hockney devoted himself to the iPad, a medium of unique immediacy that allowed him to be prolific in his depictions of his home, the changing seasons, and surrounding countryside.

In this exhibition, Hockney will debut his newest large-scale photographic drawing and present a series of editioned and signed inkjet prints including five composite landscapes, twenty floral still lifes, and a composite of three iPad paintings depicting a bouquet of gladioli. These works reveal the presence of Hockney’s hand as well as his technique for drafting larger-than-life compositions on the iPad. While Hockney’s flowers capture the fleeting stillness of his subjects, his immersive landscapes establish the vastness of his rural surroundings. Whether bound to a single moment in time or created from multiple planes of vision, Hockney’s distinctive sense of time and space draws from art historical examples ranging from the Bayeux Tapestry and seventeenth-century Chinese scrolls to the still lifes of Henri Matisse.

“Most people thought the photograph was the ultimate depiction of reality, didn’t they?" says Hockney. "And I’m very certain it’s not, but not many people think the way I do."

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FROM THE ARCHIVE // In 1964, Gray dedicated a solo exhibition to the paintings of the young artist Bob Thompson. Born in Louisville in 1937, Thompson entered college as a pre-med student, but after the loss of his father, returned to his hometown and enrolled as an art student at the University of Louisville. He had his first solo show in 1959 in Louisville, but it was in the 1960s that he burst into the spotlight via a series of gallery shows, including Gray's 1964 exhibition and another follow up exhibition at Gray in 1965. Tragically, in 1966, Thompson passed away in Rome at age 29, leaving behind a prolific and singular body of work produced in a life that was cut much too short.
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Despite his career as an artist lasting only about seven years, the level of critical acclaim Thompson received in the 1960s was unprecedented for a Black artist. His paintings weaved biblical stories, allegories, and Old Master compositions into entirely new images pulsing with color. As scholar Mantha Diawara wrote in 1999 for Artforum, “Thompson’s paintings are the arenas of infinite metamorphoses." In the article, reviewing a Whitney Museum exhibition of Thompson's work, Diawara continues, “Bob Thompson, perhaps more than any other painter from 50s and 60s, shows that, if racial integration was elusive in reality, it was not so in art." Diawara concludes the essay noting that the “Whitney exhibition gives the viewer pause to consider whether, in the years since Thompson’s death, we have come any closer to realizing his vision.”
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Thompson's indelible impact on art history is a story that still leaves much to be written. Colby College Museum curator Diana Tuite has organized Bob Thompson: This House is Mine, a forthcoming exhibition that will travel to the High Museum, Atlanta and the Smart Museum, Chicago.
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Thompson in his studio, 1964 (Archives of American Art); Judgment of Paris - Cranach (detail), 1963; Cathedral (detail), 1963; Fred McDarrah, 1963; The Ascension (detail), 1963; Herding of the Cows, 1965; Charles Rotmil, 1964.
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#bobthompson #robertthompson #grayarchive #graychicagonewyork #richardgraygallery #fromthearchive

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FROM THE ARCHIVE // In 1999, Gray New York presented an exhibition dedicated to the late paintings of Andy Warhol. Featured in the show were works from the final decade of his career, including paintings from his Shadow, Rorschach, Camouflage, Hammer and Sickle, and Marilyn reversals series, among others. In pursuing each of these themes and symbols, Warhol relentlessly pushed these common motifs to the edge of familiarity, abstracting them to the point where he began to repetitively depict even the absence of light, as in his striking series of Shadow paintings.
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As critic David Carrier writes, "Warhol remained mysterious to the very end—the last decade of his career is as puzzling as its beginning."
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Installation views; Camouflage, 1986; Hammer and Sickle, 1977; Gianfranco Gorgoni, Portrait of Artist (Andy Warhol), 1979/80; Shadow (detail), 1978. Andy Warhol: Selected Late Paintings, Gray New York, 1999.
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#andywarhol #warhol #graynewyork #graychicagonewyork #grayarchive #fromthearchive

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ON THIS DAY | Leon Polk Smith was born on this day, May 20, in 1906 on unincorporated lands in present-day Chickasha, Oklahoma. The sense of space Smith began to develop even at an early age on his family's farm would remain at the core of his decades of artistic practice and pioneering of hard-edge abstraction.
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The painter's Constellations and Correspondences series were the subject of Gray's recent exhibition Leon Polk Smith: Endless Space.
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Archival images from Leon Polk Smith's studio in Union Square, New York.
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#leonpolksmith #artiststudio #endlessspace #graychicagonewyork

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VIEWING ROOM | In addition to Frieze Viewing Room, Gray is pleased to present Evelyn Statsinger: Forest Rhythms in Frieze's Chicago Tribute sector dedicated to the pioneering women artists of Chicago.
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Statsinger (b. 1927-2016) initially rose to prominence with her early drawings: endlessly detailed works on paper that caught the attention of curators in Chicago, New York and Los Angeles. Early exhibitions at the Art Institute of Chicago in 1952 and 1957 and the Whitney Museum of American Art in 1954 led Time Magazine to call her “an honored one among American abstractionists” while lauding her “great mastery of textural effects.” She was frequently included in discussions of the Monster Roster school of Chicago artists, as well as the later, broader conversation around Chicago Imagism. Gray's presentation features a selection of Statsinger's abstract paintings from the '80s and '90s in which sinuous bands of vibrating color and texture translate the mysterious rhythms of the natural world.
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Evelyn Statsinger, Puzzles, 1999. Tap the link in bio to preview more works and to sign up for early access to the upcoming Gray Viewing Rooms.
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#evelynstatsinger #forestrhythms #richardgraygallery #graychicagonewyork #grayviewingrooms #grayvr #frieze #friezenewyork #friezeviewingroom

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FROM THE ARCHIVE // In 1995, Gray Chicago presented an exhibition of photographs by Shigeo Anzaï. Born in Kanagawa in 1939, Anzaï first studied painting before moving into photography in the 1960s and becoming involved with the nascent Mono-ha movement, a group of artists pioneering new forms of experiential installations. The ephemerality of these works spurred Anzaï to dedicate his career to documenting artists in action, and his body of photographs traces not only individual artists he befriended over the years, but also the broader post-war development of a truly global arts community.
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Anzaï's 1995 exhibition featured photographs of artists who have exhibited extensively at Gray, including David Hockney, Anthony Caro, and Sam Francis, as well as other leading artists such as John Cage and Laurie Anderson.
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Shigeo Anzaï, Sam Francis, Louisiana Museum, Denmark, 1974; Laurie Anderson, New York, 1979; David Hockney, Tokyo, 1983; Anthony Caro, London, 1990; John Cage, Takanawa Museum, Karuizawa, 1981.
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#grayarchive #graychicagonewyork #richardgraygallery #shigeoanzai #samfrancis #laurieanderson #davidhockney #anthonycaro #johncage #fromthearchive

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FROM THE ARCHIVE // In March 2004, Gray Chicago presented Jim Dine's latest works in Jim Dine: Göttingen - Paris. Timed to coincide with the National Gallery of Art's 2004 retrospective The Drawings of Jim Dine, the exhibition at Gray featured a dozen new botanical drawings made in his studios and gardens in the two cities.
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On the occasion of the National Gallery's exhibition that year, Dine participated in the museum's Elson Lecture Series. In his dialogue with NGA curator Judith Brodie, Dine explained his philosophy as a draftsman: "Drawing is not an exercise. Exercise is sitting on a stationary bicycle and going nowhere. Drawing is being on a bicycle and taking a journey. For me to succeed in drawing, I must go fast and arrive somewhere. The quest is to keep the thing alive."
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Jim Dine: Cool Air, 107 Degrees, 2003; A Peony From Aukland, 2003; Steidl’s Back Garden, 2003; Gottingen No. 2, 2003; Gottingen No. 3, 2003. Tap the link in bio to learn more about Dine's botanical drawings and to explore available works on Gray Viewing Rooms.
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@jimdinestudio #grayarchive #graychicagonewyork #richardgraygallery #chicagogalleries #jimdine #dine #dinebotanicals #grayvr #grayviewingrooms #fromthearchive

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IN FOCUS | McArthur Binion’s forthcoming exhibition at Gray Warehouse will feature new paintings from the artist’s DNA:Work series and unveil a previously unseen body of drawings.
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In his DNA paintings, Binion uses geometry as an index of labor and time. A grid of interlacing lines and repetitive strokes in oil stick form the top layer, both obscuring and revealing the layer of personal markers woven together underneath not unlike a patch-work quilt. In this 7-by-7 foot painting, Binion frames pages scanned from his address book within a border of primary colors. At this scale, the work envelops viewers in personal history that feels close to the artist's skin. As critic John Yau writes, the DNA paintings are “deeper than autobiography."
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McArthur Binion, DNA:Work, 2019.
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#GrayInFocus #mcarthurbinion #modernancientbrown #dnawork #underconscious #gray #graygallery #richardgraygallery #graywarehouse #chicagogalleries

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GRAY ARCHIVE | In 1998, Gray presented Ed Ruscha: Works from the 60s and 70s at its New York gallery. Conceived to survey Ruscha's expansive impact across mediums, the exhibition featured word paintings, Surrealist-minded canvases, drawings, photographs, and a display of his groundbreaking photobooks such as Twentysix Gasoline Stations and Various Small Fires.
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In a 1980 interview with the Smithsonian's Archives of American Art, Ruscha discussed his pioneering of Pop in the 60s amidst an art historical narrative still dominated by Abstract Expressionism: "My mind was a clash of these two different things, and I began painting words... I was beginning to see the possibility of using non-subjects for subject matter."
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Ed Ruscha: 1. Faith, 1972; 2-3. Installation views; 4. Black and Pink Bowling Ball, 1972; 5-7. Installation views; 8. The Sixties and the Seventies, 1979 (detail).
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#grayarchive #graychicagonewyork #richardgraygallery #chicagogalleries #edruscha #ruscha

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FROM THE ARCHIVE // In 1992, Gray presented an exhibition of Roy Lichtenstein’s newest Water Lilies works. The suite of prints was inspired not only by Monet’s iconic paintings, but also by the earlier Japanese woodcuts of Hokusai and Hiroshige which had likewise influenced the French Impressionist in his own time.
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Responding to an interviewer's question about this body of work, Lichtenstein remarked, “When I did paintings based on Monet’s I realized everyone would think that Monet was someone I could never do because his work has no outlines and it’s so Impressionistic. It’s laden with incredible nuance and a sense of the different times of day and it’s just completely different from my art. So… I smiled at the idea of making a mechanical Monet.”
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Roy Lichtenstein: 1-2. Lichtenstein, Water Lilies with Willow, 1992; Water Lilies with Cloud (detail), 1992; 4. Water Lilies with Japanese Bridge (detail), 1992; 5. Exhibition catalogue cover.
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#grayarchive #graychicagonewyork #richardgraygallery #roylichtenstein #lichtenstein #monet #waterlilies #chicagogalleries #fromthearchive

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FROM THE ARCHIVE // Beginning this week, Gray is pleased to share highlights from our archive. Since its founding by Richard Gray in 1963, the gallery has presented more than 300 exhibitions and published over 70 books. Stay tuned for memorable moments from nearly sixty years of gallery history!
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#grayarchive #graychicagonewyork #richardgraygallery #chicagogalleries #fromthearchive

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The #ADAAGalleryWalk: Midtown + Upper East Side is TODAY from 10 am - 1 pm. Over 40 ADAA member galleries have opened their doors to the public for a collaborative event showcasing some of the most dynamic exhibitions in New York City this season.
Gallery Walk visitors can enter to win a tote bag full of art books and exhibition catalogues by posting photos of their experience on Instagram and tagging #ADAAGalleryWalk. A winner will be selected from those who visit and tag the most ADAA galleries during the event. To be eligible, you must follow @the_adaa and post all photos by 12 pm on March 1.
Here: Image 1: Installation view: “Leap of Color,” 2020, courtesy Yares Art, New York; Image 2:Leon Polk Smith, Red Violet Red, 1967. Courtesy Gray, Chicago/New York.
#adaagalleries

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