Tanya Leighton is pleased to present a curated feature of newly finished works by a selection of the gallery’s artists.
These new and recent works, across a variety of medium and scale, would have been the foundation of the gallery’s presentation at Art Basel this June. In light of the event’s cancellation, we are proud to be sharing our artists’ unique perspectives with you in our first online Viewing Room.
We hope that this new platform provides an authentic experience for you to encounter and enjoy the works of many of our artists.
In the late 1960s, one of my jobs was at one of Mickey Ruskin’s restaurants. It was across the street from Max’s Kansas City on Park Avenue, near Donald Judd’s studio on 19th Street. Newman came in several times. I’d see him at openings too. He was always willing to engage, but I was too shy to really speak to him.
Later, I noticed that in his twenty-seven year career, on average, Newman made less than five paintings a year. The convention is that important artists are highly productive, that they can’t stop their brush from moving. And here this guy, who means so much to me, did so few works.
With abstraction, the artist can traverse the history of art on their own terms and in much less time.
–Lawrence Alloway (as told to David Diao)
Curator, 'Barnett Newman: The Stations of the Cross’
I don’t even begin with colour until I have filled up the canvas texture with paint, so it’s as smooth as possible. It has that sense of being honed, waxen, sensuous.