LandEscape: New Visions of the Landscape from the Early 20th and 21st CenturiesMarch 17 - June 16, 2019

LandEscape explores the early 20th century American modernists who exhibited their innovative paintings at the groundbreaking 1913 Armory Show, and compares it to the work of artists from the 21st century who have rediscovered and reinvigorated the genre. This show is comprised of approximately 30 works and reveals how a diverse range of artists broke from the established landscape painting traditions of their predecessors to create a new visual language that profoundly changed the way landscape was perceived. Artists such as Marsden Hartley, John Marin, Alfred Maurer, Helen Torr and Marguerite Zorach all engaged with what was considered to be an unexceptional genre. One hundred years later the same innovative impulse has once again emerged in the works of contemporary artists Jo Baer, Lois Dodd, April Gornik, Shara Hughes, Alex Katz and Judy Pfaff who have again reinterpreted the landscape. Curated by Olga Dekalo.

LandEscape in In the News.
Image Credits:
Homepage image and above: Shara Hughes, The Not Dark Dark Spots, 2017, oil and dye on canvas, 68 x 60 inches, Private Collection, © Shara Hughes

Marguerite Zorach, Moonlight, 1910. Heckscher Museum of Art, Huntington, N.Y. Gift of the Baker/Pisano Collection.

April Gornik, Sun and Storm, 2006, oil on linen, 82 x 64 inches, Courtesy Danese / Corey, New York, © April Gornik.


Creighton Michael: VectorsMarilyn M. Simpson Sculpture Garden
March 17 - June 16, 2019

Three of Creighton Michael’s sculptures from his Vector series will be on view in the Marilyn M. Simpson Sculpture Garden March 17 to June 17, 2019.

In their orientation and angular construction these works convey both direction and magnitude, echoing the tree trunks and their branches and providing a dialogue with nature and the landscape.


Creighton Michael, Vector 494, 1994, painted steel, 28 x 192 x49 inches.

 KMAA featured Artist: Mitche KunzmanThe Spot Gallery
March 17 - June 16, 2019

The Radical Borderlands
The abstractions in these paintings suggest an otherwise unseen human presence - linear and measurable - outside the realm of nature.

Mitche Kunzman, Meru (the axis of the world) (detail),oil and wax on canvas, 30 x 30 inches.


Mark di Suvero’s Monumental SculptureOngoing

Since fall 2016 the KMA is host to two of internationally renowned artist Mark di Suvero’s pioneering steel sculptures. Since the 1950s, di Suvero has transformed industrial materials such as wood timbers, tires, and scrap metal to create works that dynamize their setting. Visitors will find the space of the KMA’s South Lawn activated with Yoga (1991) and the Marilyn M. Simpson Sculpture Garden with Rust Angel (1995), works that exemplify di Suvero’s ability to imbue familiar sites with an original energy.

This project is supported by the Robert Rauschenberg Foundation in honor of Charles Bergman's many years of counsel and service. Additional Support for this exhibition is provided by Jon & Nancy Bauer, Victoria & Stephen Morris, the Donna & Marvin Schwartz Foundation, the Silverweed Foundation, and the Ohnell Family Foundation. Special thanks to Elizabeth & Samuel Sachs for their support and collaboration.

Header Image: Mark di Suvero, Yoga, 1991, Steel, stainless steel, 29’ 6 1/2” x 31’ 2” x 31’ 2”. Courtesy of the artist and Paula Cooper Gallery, New York. Photograph © Margaret Fox Photography.
Image Above: Mark di Suvero, Rust Angel, 1995. Painted steel. Courtesy of the artist and Paula Cooper Gallery. Photograph © Margaret Fox Photography.


Lawrence McGarvey: Open MindOngoing

Beginning November 2017, guests will encounter a new sculpture perched steps away from the KMA entrance. Both figurative and abstract, literal and metaphor, Open Mind embodies the spirit in which the KMA hopes its guests will approach their museum experience.

Created by New York artist, Lawrence McGarvey (b. 1965), the sculpture comes to us on temporary loan from Paraphé Art, a new online contemporary art gallery launched by Susan Grissom, formerly of The Lionheart Gallery in Pound Ridge. The figure, a profile of a human head with a cloud-like hole cut-out in the place of its brain, allows the viewer to see the changing world through a cleverly-placed negative shape. The viewer’s mind penetrates the sculpture and opens up to the freedom of the space that flows through it. The sculpture is simultaneously emptied and filled and visually dependent upon the world that surrounds it. McGarvey explains that the sculpture is a monument to “freedom of thought“ as well as a lyrical homage to Rodin’s The Thinker.

Lawrence McGarvey, Open Mind, 2017.
Aluminum sculpture. Courtesy of the
artist and Paraphe.art.