FOR IMMEDIATE RELEASE
Knox Martin “SHE” Exhibition at Sam & Adele Golden Gallery
October 6, 2012 – April 6, 2013
– Columbus, NY, Sept. 13, 2012
‘SHE’ is an exhibition of recent paintings by New York artist Knox Martin.
‘SHE’ will open on October 6, 2012 at 4:00 p.m. with a Gallery Talk by the artist and will follow with a reception for Martin from 5:00 p.m. to 7:00 p.m. at the Sam and Adele Golden Gallery (The SAGG) at Golden Artist Colors, Inc., 188 Bell Road, New Berlin, NY. The exhibition will continue through April 6, 2013. Gallery hours are from 8:30 a.m. to 5:00 p.m., Monday through Friday.
‘SHE’ will present over a dozen paintings by Knox Martin, and in the words of catalog essayist Dr. William Fried, “The paintings in this exhibit are a set of variations on the theme of Woman, the continuation of a tradition dating from ancient representations of the female through the work of Cézanne, Matisse, Picasso and deKooning.”
Knox Martin’s outdoor building-size murals ‘Venus’ (1970) and ‘Woman With Bicycle’ (1979) in New York City have been viewed over the decades by millions of people. Knox Martin’s murals have been lauded as truly iconic examples of public art.
The SAGG is proud to bring these works to the Golden Artist Colors campus to affirm Knox Martin’s sixty-year exhibition record and his dedication to art and teaching. Knox Martin has taught at Yale University, New York University, University of Minnesota, and The International School of Art in Italy. Knox continues to teach Master classes at the Art Students League of New York.
In October Knox Martin will be recognized by the Artists’ Fellowship, Inc.
with the Benjamin West Clinedinst Memorial Medal. This award is given for the achievement of exceptional artistic merit. The medal was established in 1947 to commemorate Benjamin West Clinedinst's dedication to the fundamental and traditional principles of art, his interest in his fellow artists and his devotion to the Fellowship.
Knox Martin is a member of the National Academy and has works in numerous private and public collections around the world, including the Whitney Museum of American Art, The Museum of Modern Art, Albright-Knox Art Gallery, The Smithsonian’s Hirshhorn Museum and Sculpture Garden, and the Corcoran Gallery of Art.
A catalog of the ‘SHE’ exhibition will be available, featuring an essay entitled, “SHE: An Exhibit by Knox Martin” by William Fried, Ph.D., FIPA.
To view ‘SHE’ online and to learn more about the Sam & Adele Golden Gallery (SAGG), go to www.thesagg.org.
For more information about Golden Artist Colors, go to www.goldenpaints.com.
For more information about Knox Martin, go to www.knoxmartin.com.
"Knox, you are the only one around with aesthetics!"
- Alex Katz
"You are my mentor. For years, I always asked, what would Knox think of my painting?"
- Bob Rauschenberg
"I was present when Knox Martin changed the life of a major artist by diagramming the basic structure of a Frans Hals. That artist was Al Held."
- Ron Gorchov
"Knox, you are the spirit of art!"
- Peter Golfinopoulos
"Knox, your work has a snooty look about it, I haven't seen outside of Matisse."
- Willem de Kooning
"There are many sexually overt works in this exhibit but the painting with no recognizable image, (Caraja) by Knox Martin; its head and shoulders more sexy than anything there!"
- Elaine de Kooning (Excerpt from a writing on a Whitney Museum exhibition)
"Anyone interested in drawing should see this exhibition of drawings by Knox Martin; he is his own man!"
- Hilton Kramer (Excerpt from the New York Times)
"This is the greatest drawing I have ever seen!"
- Stanley Boxer (Signaling out a drawing by Knox Martin, opening night at an Ingber Galley exhibition)
"Charlie Egan has taken you on. You have no idea how jealous everyone is that you have been taken on by Charlie."
- Aristedemos Kaldis (Knox Martin opening, 10th Anniversary Exhibition Charles Egan Gallery 1954 - advertised in the New York Times)
After Knox had given a talk on children's art (Olivia's paintings and drawings) age 6, on paper and blackboard, to Cy Twombly, Bob and Susan Rauchenberg -- Cy jumped up and said, "That's what I am going to do for the rest of my life!" He did.
- Cy Twombly
"Knox, your paintings are first rate!"
- Alfred Leslie (Reported by Charlie Egan)
"Knox Martin was the first artist whose work I thought about critically and analytically."
- Arthur C. Danto
William Fried, PhD, SHE: An Exhibit by Knox Martin, exh. cat. (New York: The SAGG, 2012)
Robert Shuster, Best in Show: Knox Martin at Woodward Gallery, The Village Voice (October 20, 2010)
Valerie Gladstone, Knox Martin: Black and White Paintings, City Arts (September 28, 2010)
Edward Leffingwell, "Knox Martin at Janos Gat", Art in America (October 2003)
Arthur C. Danto, "Adventures in Pictorial Reason" (1998)
Jonathan Goodman, "Knox Martin at Janos Gat", Art in America (December 1997)
Grace Glueck, "Knox Martin: Early Work", The New York Times (May 23, 1997)
Vivien Raynor, "Abstract Works to Catch the Adult Eye", The New York Times (September 29, 1996)
Vivien Raynor, "Knox Martin: Angry But More Human", The New York Times (June 30, 1981)
Randy Fordyce, "Knox Martin in the Spotlight", Not Just Jazz: The Uncommon Denominator
George Parrino, "Knox Martin - The Daedalean Works", Arts 46 (March 1972)
Stuart Preston, "Knox Martin Impresses in First One-Man Show", The New York Times (September 6, 1954)
The work showing at Woodward Gallery, “Knox Martin- Woman: Black & White Paintings”-----
The Black and White paintings of Knox Martin give to and take from the drawing that he does all the time, as well as the interchange between large paintings, portraits and sculpture. Martin quotes Matisse: “Painting is an expanded drawing.” New doors are opened from one work to another. In this exchange, there is the continuous exploration of the Masters.
Basic to Martin's work is the perception that high art is the creation of reality. The subject matter of such art is creation and the elements that are involved are its concern. Creation feeds on the manipulation of what itself is. This is what fires his work.
These paintings contain and compress the essence of the radical; the work at work - creating senses not yet known! A work you must be tutored by! A hilarity producing consternation! A space is altered in surprise, but in a seamless way. There is no foreground or background (in the Hermetic Cubism there is always an element of foreground, middle or background), in Martin's work references to codified space are eliminated. No push or pull, in or out, up or down. This is crucial to an eventual seeing of the work and essential to its basic poetics.
Most of these paintings are of women: with flowers, sharing a bouquet with you - looking at you!
The variety within a theme is extraordinary: brush strokes echo Goya, Picasso and DeKooning.
The smaller paintings bear a startling load. They have been worked on for 22 years and they have always been complete. Like a fragment of' a holograph that is clone to its prototype, these paintings individually manifest a master poetics encoding a perpetual freshness that, in the end, is the anatomy of esthetics: in each the lines wave through the flames that have burnt away all of the nonessentials, exposing the dues one must pay to wield the fire.
A basic intuition, displaying the shadows of creation at their most elemental!