The Kingfisher’s Wing

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Open: Tue-Sat 11am-6pm

54 White Street, NY 10013, New York, United States
Open: Tue-Sat 11am-6pm


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The Kingfisher’s Wing

to Fri 19 Aug 2022

54 White Street, NY 10013 The Kingfisher’s Wing

Tue-Sat 11am-6pm


GRIMM presents The Kingfisher’s Wing, a group exhibition curated by Tom Morton drawing together paintings by Gabriella Boyd, Varda Caivano, Louise Giovanelli, Matthew Krishanu, Francesca Mollett, William Monk, Ryan Mosley, Christian Quin Newell, Mary Ramsden, Tim Stoner and Phoebe Unwin. The exhibition is the third collaboration between GRIMM and Morton, following the exhibitions Recent British Sculpture and Recent British Painting presented by the gallery in Amsterdam in 2011 and 2012 respectively.

Artworks

Dog, 2022

Acrylic on canvas
105 x 90.2 cm | 41 3/8 x 35 1/2 in

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Pastel Person, 2022

Acrylic and oil paint on canvas
70 x 80 cm | 27 1/2 x 31 1/2 in

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Beach, 2022

Acrylic and oil on canvas
79.8 x 60 cm | 31 3/8 x 23 5/8 in

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Alliance, 2022

Oil and acrylic on calico
220 x 160 cm | 86 5/8 x 63 in

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Scattered rest, 2022

Oil and acrylic on canvas
200 x 170 cm | 78 3/4 x 66 7/8 in

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Phosphorous grip, 2022

Oil and acrylic on calico
35 x 45 cm | 13 3/4 x 17 3/4 in

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Untitled, 2022

Gouache on jute
41 x 23 cm | 16 1/8 x 9 1/8 in

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Untitled, 2022

Gouache on linen
46 x 66 cm | 18 1/8 x 26 in

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Untitled, 2022

Gouache on jute
47 x 69 cm | 18 1/2 x 27 1/8 in

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Silo, 2022

Oil on linen
61 x 20.5 cm | 24 1/8 x 8 1/8 in

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Consumer, 2022

Oil on linen
70 x 40 cm | 27 1/2 x 15 3/4 in

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Sloping Roof and Tree, 2022

Acrylic on canvas
100 x 80 cm | 39 3/8 x 31 1/2 in

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Red Roof and Water, 2022

Acrylic on canvas
100 x 80 cm | 39 3/8 x 31 1/2 in

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Red Roof and Trees, 2022

Acrylic on canvas
100 x 80 cm | 39 3/8 x 31 1/2 in

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Son of Nowhere, 2022

Oil on canvas, framed
73.4 x 73.4 cm | 28 7/8 x 28 7/8 in

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Athenians, 2022

Oil on canvas
183 x 150 cm | 72 1/8 x 59 1/8 in (canvas) 185.5 x 152.5 cm | 73 1/8 x 60 1/8 in (framed)

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Exit, 2022

Oil on linen
50 x 40 cm | 19 3/4 x 15 3/4 in

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Constellation (ii), 2022

Oil on linen
24 x 30 cm | 9 1/2 x 11 3/4 in

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Lighter, 2022

Oil on linen
46 x 33 cm | 18 1/8 x 13 in

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Bonne Anniversarie, 2022

Oil on linen
210 x 180 cm | 82 5/8 x 70 7/8 in (canvas) 213 x 183 cm | 83 7/8 x 72 1/8 in (framed)

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Sow (ii), 2022

Oil on linen
160 x 120 cm | 63 x 47 1/4 in

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Territory, 2022

Oil on linen
33 x 20 cm | 13 x 7 7/8 in

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Schism, 2022

Oil on linen
33 x 20 cm | 13 x 7 7/8 in

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All the rest is hypothesis and dream, 2022

Oil on linen
127 x 210 cm | 50 x 82 5/8 in 127 x 70 cm | 50 x 27 1/2 in (each canvas)

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Casa del Rey Moro, 2009-22

Oil on linen
203 x 279 cm | 79 7/8 x 109 7/8 in

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Edge of Town (Santa Barbara), 2009-22

Oil on linen
205 x 290 cm | 80 3/4 x 114 1/8 in

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Added to list

Done

Removed

GRIMM The Kingfishers Wing 1

GRIMM The Kingfishers Wing 7

GRIMM The Kingfishers Wing 8

GRIMM The Kingfishers Wing 2

GRIMM The Kingfishers Wing 4

GRIMM The Kingfishers Wing 6

GRIMM The Kingfishers Wing 5

GRIMM The Kingfishers Wing 3

GRIMM The Kingfishers Wing 9

GRIMM The Kingfishers Wing 10

The Kingfisher’s Wing takes its title from a motif in TS Eliot’s Burnt Norton (1936), a poem that is concerned with how we might live in the present moment, when it is both haunted by our memories of the past, and is forever merging seamlessly into the future:

After the kingfisher’s wing

Has answered light to light, and is silent, the light is still

at the still point of the turning world.

In the exhibition, these lines are offered as a spur to thinking about the peculiar temporality of the (still, restless) painted image, and the fugitive nature of color, form and meaning. Featuring works by eleven contemporary artists, each of whom has a strong connection to Eliot’s adopted homeland of Great Britain, The Kingfisher’s Wing sequences a set of distinct painterly propositions, attending to their echoed moods and preoccupations, and to their contrapuntal play of atmospheres, imagery and themes—the way they answer “light to light”.

Across the show, we encounter figuration and abstraction, the domestic and the mythic, landscapes and dreamscapes, bodies in motion and at rest. Here and there, we glimpse traces of painting’s long history and perhaps auguries of its possible futures. What emerges is not an argument for the medium as a “still point” in a “turning world” (it belongs, inescapably, to time), but rather as a repository of present-ness, and as a realm in which the moment lingers and thickens.

If Eliot’s kingfisher is a herald of sorts, here in the exhibition this bird—with its flashing blue and orange feathers, its uncommon, compact charisma—functions as a totem of our encounters with painting. Kingfishers are found almost everywhere across the Earth, aside from at the poles and in the very driest deserts. Nevertheless, to chance across one always feels something of a blessing, a modest little miracle.

Tom Morton is a curator, writer and a Contributing Editor for frieze magazine, based in Rochester, UK. His previous exhibitions include The City & The City & The City at Frestonian Gallery, London (2020); Äppärät at The Ballroom Marfa, Texas, USA (2015); Panda Sex at State of Concept, Athens, Greece; British British Polish Polish: Art from Europe’s Edges in the Long ‘90s and Today, CSW Ujazdowski Castle, Warsaw (2013, co-curated with Marek Goździewski); and British Art Show 7: In the Days of the Comet, Hayward Gallery London and touring (2010-11, co-curated with Lisa Le Feuvre).

Installation view, The Kingfisher’s Wing, curated by Tom Morton at GRIMM, New York, July 21 - August 19, 2022. Photo: Greg Carideo


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