After the traveling Llyn Foulkes retrospective that started at the Hammer\, then transformed the New Museum this Fall and now continues into Europe at the Museum Kurhaus Kleve in November\, we have come to unde rstand not only the significance of Foulkes but also his singular contribut ion to art history.

In the past several years\, Foulkes&rsquo\ ;s work has been so prominently exhibited that the importance of his work a nd the wide range of his influence has been acutely felt. While he has cont inuously in the past 50 years been recognized and singled out with importan t museum shows and distinctions\, in the past three years alone\, he has ha d a major presence in Venice Biennale (2011)\, Documenta 13 (2012)\, Punta della Dogana (2013)\, Pacific Standard Time (2011)\, combined with a critic al mass of press\, and a new documentary &ldquo\;Llyn Foulkes: One Man Band \,&rdquo\; that is touring film circuits also bringing to light Foulkes&rsq uo\;s musical practice. The Hammer retrospective brought together over 150 works with a new monograph clarifying the astounding innovation and depth t o each of Foulkes&rsquo\; bodies of work.

With works ranging f rom 1963 to 1984\, this exhibition focuses on the theme of the landscape an d the language of post cards. It&rsquo\;s fascinating to see the diversity in Foulkes&rsquo\;s complex formal language from his signature rag techniqu e using rags to apply and subtract paint to the canvas in a way that anthro pomorphizes the rock paintings into denim jean paintings\, to the use of dr ips on the canvases imitating stains of a photograph\, or over painting on top of collaged postcards. Somehow it is difficult to imagine a work that i s more personal\, but also points to the disillusionment of the American dr eam\, the desires and promises of Los Angeles\, and the greater American cu ltural landscape.

&ldquo\;Foulkes is a powerful\, strong\, and gripping image maker of Baconian horror...Foulkes&rsquo\; art is a per sonal reliquary &ndash\; he reconstructs an imaginary past that haunts him like a mirage....He constantly creates and invents fresh means to enlarge a nd express his insights...There is always a formal break up of images withi n images\, paintings within paintings\, paintings of a photograph with a ph otograph within.&rdquo\; (Coplans\, John. &ldquo\;Three Los Angeles.&r dquo\; Artforum April 1963: 29-31.)

It is such an exciting mom ent for Foulkes\, and after 50 years\, it feels like we are again just at t he beginning.

Llyn Foulkes (b. 1934\, Yakima\, Washington\ , lives and works in Los Angeles) graduated from the Chouinard Art Institut e in 1959 and served in the US Army in Germany from 1954-1956. Important so lo exhibitions include a retrospective organized by the Hammer Museum\, tra veling to the New Museum and Kurhaus Kleve (2013)\, &ldquo\;Between a Rock and a Hard Place&rdquo\; Laguna Art Museum (1996)\, MCA Chicago (1978)\, th e Oakland Museum (1964) among others. His work can be found in the collecti ons of the MoMA\, NY\, the Guggenheim\, NY\, the Whitney Museum of American Art\, NY\, the Hirshhorn Museum\, Washington D.C.\, Smithsonian\, the Carn egie Museum of Art\, Pittsburgh\, LA MoCA\, SF MoMA\, the Hammer Museum\, A IC\, Chicago\, Seattle Art Museum\, the Centre Pompidou\, Paris\, FNAC\, Pu teaux\, and the Museum Boijmans Van Beuningen\, Rotterdam\, among many othe rs.

LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Llyn Foulkes END:VEVENT BEGIN:VEVENT DTSTAMP:20171218T015250Z UID:300439 DTSTART:20131011T180000 DTEND:20131011T200000 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SUMMARY:Solo Exhibition\, Llyn Foulkes END:VEVENT END:VCALENDAR