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Thomas Nozkowski - Works On Paper

Pace Gallery NY 2017 ISBN 9781935410843 Acqn 26531
Pb 23x30cm 56pp 83col ills 36.95

A complement to his paintings, Nozkowskis oils on paper and drawings form a critical part of his
practice. The exhibition will highlight the depth of Nozkowskis practice, tracing affinities in forms
and colours across more than fifteen years of work while also highlighting his ability to shift
between various media, ranging from ballpoint pen and pencil to gouache and oils.

Nozkowskis work rests in his process-oriented approach to painting and drawing. Reflecting on
specific places and experiences in his work, Nozkowski translates sensations and memories into
abstract forms and gestures that he spends weeks, months or, in some cases, years working on.
Through this process, Nozkowski often returns to certain ideas across several discrete works,
exploring the full range of possibilities for a given form, colour or gesture. Arranged to highlight
affinities between bodies of work, the installation will chart the recurrence of motifs across
different suites of work. These groupings of work reveal an artist whose keen sensitivity to colours
and forms enables unlikely pairings and a unique ability to reinvent, refine and re-imagine ideas
across years of work.
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Qiu Xiaofei - Double Pendulum

Pace Gallery NY 2017 ISBN 9781935410812 Acqn 26533
Pb 22x22cm 54pp 31col ills 31.50

Qius work is concerned with the expression of psychological and cultural forces through art,
painting especially. The artist spent approximately the first decade of his career working in a
representational style, painting objects from his personal and familial history to address his
relationship with the past. Continuing to interrogate these same ideas, Qiu shifted to an abstract
style circa 2012, exploring the potential of gestures, forms and colours to express the social
subconscious.

In Double Pendulum, Qiu continues in this vein. Using palette knives, sprays guns, brushes, and
other implements, Qiu creates improvisational works, reacting to and against drips, sprays and
forms as they materialize on the canvas. His choice of acrylic paintquicker drying than oils
forces him to work at a fast speed, which contributes to the looseness of his gestures and the
negotiations between forms, suspending the paintings in an air of unresolved feeling. His process
and speed are a means to translate his unconsciouswhich he construes as a repository for
various cultural, social and political factors that have shaped himonto the canvas, arriving at a
purer form of self-expression untainted by rational thinking.

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Keneth Noland - Into The Cool

Pace Gallery NY 2017 ISBN 9781935410904 Acqn 27442
Pb 24x27cm 54pp 30ills 29col 31.50

The exhibition includes 14 of the 18 acrylic paintings on canvas in Nolands series Into the Cool,
made in 2006 and 2007. Together these works reveal the emotional effects and expressive
potential of colour and form, while outlining the artists commitment to the possibilities of
abstraction. Returning to his use of the circle, emphasis on the centre, and expressive, gestural
brush strokes, the paintings show Noland focused on his application of paint. Continuing to use
his technique, established in the 1950s, of staining unsized raw canvas with acrylic paint, here
Noland has expanded upon it by not only painting the front surface of the canvas, but also
working from behind. This modification in process highlights the artists painterly abilities, as well
as his constant experimentation.

As with Nolands earlier work, he continued to apply colour as a physical material substance, but
unlike his earlier hard edged paintings which rely on fields of dense colour, for Into the Cool he
used colour through subtle tone and transparency. Noland achieved this varied application of
paint and emphasis on certain colours by using a gel medium, which sits on the surface of the
paintings and gives the colour a tangible, physical quality. William Agee writes that the
paintingsspecifically Bursthave perfect pitch, a fusion of emphatic colour at right centre to
barely discernible at left and centre bottom; an in and out weaving of pinks and blues; quasi-
geometric shapes with an amorphous bleeding of the hues with a touch of mastery that certifies
Nolands genius. The culmination of a lifetime of artistic experimentation, these last paintings
show an artist drawing from aspects of his earlier works, to find a masterful series of original
works.

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Richard Pousette-Dart - The Centennial

Pace Gallery NY 2017 ISBN 9781935410867 Acqn 27443
Pb 24x27cm 62pp 31ills 28col 31.50

Richard Pousette-Dart: The Centennial will present a selection of eighteen paintings spanning
four decades, from the 1940s through the 1980s. The works on view relate the artists
development from his early Abstract Expressionist works to his later paintings that he called
presences. Pousette-Darts paintings display remarkable experimentation and a wide range of
techniques with brush, palette knife and even paint squeezed directly from the tube. The
uniqueness of each work proves the painters claim that every painting is a new experience and
departure into the unknown.

The youngest of the first generation of Abstract Expressionists, Pousette-Dart made works in the
1940s and 50s that resulted from his encounters with his materials, with intuition guiding his
innovations in form, line, and colour. From the 1960s on, he began creating paintings with points
of paint rather than gestural lines and strokes. Some canvases are built up with heavy impasto
and display a strong physicality, while other paintings are more thinly layered in their use of
colour and light. Later works appear at first glance to be dominated by monochromatic visual
fieldsalthough upon closer inspection they contain surprisingly wide spectrums of colour that
emerge subtly through the points of white. These are paintings that reward sustained viewing.

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