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Contemporary Art, Drawing, Modern Art, Painting, Sculpture

Willem de Kooning: Endless Painting

Gagosian Gallery, New York, New York
April 15 to July 11, 2025


In spring–summer 2025, Gagosian’s Chelsea space at 555 West 24th Street reopened with “Willem de Kooning: Endless Painting,” curated by Cecilia Alemani (High Line Art). The exhibition ran from April 15 and was extended through July 11, 2025.

Although frequently described as “retrospective-like,” it was more accurately a deliberately edited, museum-caliber survey: 24 works spanning 1944–1986, installed across the gallery’s rooms in a way that encouraged viewers to read de Kooning’s career as recursive rather than linear. (The show’s checklist numbers 24 objects, including two bronzes and 22 paintings; this “distillation” was part of its point.)

What made the show feel unusually “retrospective” for a commercial gallery wasn’t only the historical range, but also its curatorial thesis and its institutional muscle. Alemani and Gagosian secured significant museum loans—most prominently MoMA’s “Untitled V” (1982) and the Guggenheim’s “…Whose Name Was Writ in Water” (1975).

The title “Endless Painting” functions as both description and argument. In the supporting materials around the show, the phrase is explicitly linked to de Kooning’s “ever-evolving” pictorial language and to his oft-cited habit of stopping rather than finishing—“just stop”—a stance that frames revision, scraping-back, and perpetual re-beginning as the medium’s true subject.

Alemani’s key curatorial move was to reject a strictly chronological narrative in favor of what she described (in preview coverage) as an exhibition that “skips and jumps” and “creates rhymes” across decades. In practical terms, this meant engineering sightlines and adjacencies that made repetition legible: a 1940s work could “echo” a late ribbon painting; an iconic mid-career figure could be made to reverberate against a near-abstract contour from the 1980s.

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Contemporary Art, Painting

Livien Yin: Thirsty

Cantor Arts Center, Stanford University, Palo Alto, California, August 21, 2024–February 23, 2025

At Stanford’s Cantor Arts Center, Livien Yin’s exhibition “Livien Yin: Thirsty” (on view August 21, 2024–February 23, 2025) is an intimate, single-gallery show in the Ruth Levison Halperin Gallery and marked Yin’s first solo museum exhibition. The exhibition brought together new and recent paintings shaped by a research-driven practice: Yin stages luminous, fictional vignettes—often casting friends as models—to collapse past and present and draw connective threads between contemporary life and historical Asian American figures and environments. A central historical anchor is the story of Chinese “paper sons and daughters” during the Chinese Exclusion Act era; Yin draws from historic photographs while using the absences and gaps in the archival record as a productive space to imagine possible realities

I’m also drawn to her formal style which evokes for me a sort of paint-by-numbers vibe (I mean this in the best, most complementary way), where local color shifts are not smoothed together in their modelling but are stepped like layers.


https://livienyin.com/
https://museum.stanford.edu/exhibitions/livien-yin-thirsty
https://lahstalon.org/at-the-cantor-spirit-house-and-livien-yin-explore-asian-american-identity/

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Modern Art, Painting

Robert Ryman: 1961-1964

David Zwirner, New York, November 9, 2023—February 3, 2024

Robert Ryman (May 30, 1930 – February 8, 2019) was an American conceptual artist closely identified with the high modernist Minimalist mode of painting in the 1960’s. Interestingly he did not attend an art school or program of art studies at a university. Instead, his visual interests began when he worked as a security guard at MoMA, befriending fellow employees Sol Lewitt and Dan Flavin.

From the David Zwirner exhibition text:

Ryman gained initial recognition for the work he made in the late 1960s and early 1970s. As a result, his paintings created prior to this period remain less well known to this day. Yet it was during the early 1960s that Ryman began to firmly establish the broad parameters of his radical and inventive practice. His paintings from these years reflect how, even at this early point, Ryman was already looking to interrogate and reinterpret the fundamental precepts of painting by experimenting with different supports and materials; deconstructing the relationship between frame and wall; and more broadly, investigating the visual, material, and experiential qualities that define the conditions in which a work of art is encountered. It was also at this time that the artist settled on the square as the primary format for his art and began experimenting with scale, a consequence, in part, of his move around 1961 to a studio space that afforded him the ability to work in larger formats.

David Zwirner Gallery
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