Max Gimblett Shows in San Francisco: The Beginning of Time

New Yorker and New Zealander Max Gimblett has opened his latest exhibition The Beginning of Time at leading contemporary gallery Hosfelt in San Francisco. In the spirit of impermanence – one of the core precepts of Buddhism – artworks in this solo show of the work of the 87-year-old Rinzai Zen monk will rotate in and out of the galleries throughout the run of the exhibition. Viewers, if they visit the gallery repeatedly, will find a completely different installation of new work each time they return.

“Gimblett’s paintings are a unique and mindful hybrid of the New York school of abstract expressionism with traditions of manuscript illumination and icon painting, Asian calligraphy, kintsugi, and lacquerware. Masterful brushwork, an eccentric and sophisticated color sense, and sensuously glossy surfaces are punctuated with precious metals. Some of the sculptural panels – tondos, ovals, and his signature four-lobed quatrefoil – are completely and idiosyncratically gilded in various types of gold or platinum, referring to the universality of devotional objects. With these very contemporary works, his intention is the marriage of Modernism with mysticism. Every work in this exhibition is an altarpiece; each is an offering.”

Concurrently, Gimblett can be seen at Wellington’s Page Gallery in Aotearoa with Across the River featuring unique works on paper. American author Ernest Hemingway has often been cited as a particular source of inspiration for the artist, with Hemingway’s prose on love and death resonating with Gimblett’s own creative endeavour and his lifelong pursuit to articulate truth and humanity through his visual practice. Gimblett’s titular work Across the River is something of an ode to Hemingway’s Across the River and Into the Trees, which was published in 1950 and left a remarkable impression on the artist when he first read the novel in his twenties.

The title of the exhibition also addresses the geographical distance between the United States and Aotearoa, and the experience of both physically and psychically navigating between these two places. Perhaps on a more subdued note, this modest idiom might also act as an acknowledgement of privilege and a reminder to practice empathy in these turbulent times; to reserve judgment of those on the other side of the river who may be facing unknown loss, hardship, or persecution.

Born in Auckland, New Zealand in 1935, Gimblett trained at the San Francisco Art Institute in the 1960s and has since lived, studied, traveled, taught, and exhibited extensively across the globe. His work is included in major museum collections worldwide, including the Guggenheim Museum, the Museum of Modern Art, the Whitney Museum of American Art, the National Gallery of Art (Washington, DC), the San Francisco Museum of Modern Art, the Museum of New Zealand Te Papa Tongarewa, and the Auckland Art Gallery Toi O Tamaki. In 2022, The Getty Research Institute’s internationally renowned Artist’s Book Collection acquired the entire archive of Gimblett’s artist’s books, consisting of more than 250 unique sketchbooks and journals.

Featured work (Top): Coral, 2021, gesso, acrylic, resin, water-based size and palladium leaf on burlap, 40 x 40 in / 101.6 x 101.6 cm

Featured work (Bottom): Untitled, 1984/85, Acrylic Polymer, Metallic Pigments, Pencil / Arches watercolour paper, 23″ x 30″

Article Source: Art Daily, March 1, 2023


Tags: Art Daily  Hosfelt Gallery  Max Gimblett  

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