sotheby's to stage 60s british art exhibition curated by legendary gallerist kasmin: the new...

7/30/2019 Sotheby's To Stage 60s British Art Exhibition Curated by Legendary Gallerist Kasmin: The New Situation

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For Immediate ReleasePress Release London

London | +44 (0)20 7293 6000 | Sarah Rustin | [email protected] Mitzi Mina | [email protected]

Sotheby’s London To Stage An Exhibition of British Art

Curated by Legendary 1960s Gallerist Kasmin4 th – 11th September 2013, Sotheby’s, New Bond Street

From 4th -11th September 2013 Sotheby’s will stageThe New Situation: Art in London in the Sixties, acollaboration between Sotheby's Modern & Post-War British Art specialists and the legendary galleriKasmin– the man who gave David Hockney, among others, his first break fifty years ago. Presenting agroup of works that recapture the energy and innovative spirit of the London art scene in the Sixties -adecade when our artists, along with our photographers, film stars, musicians and fashion designers capturthe world’s imagination, turning the capital into 'Swinging London' in the process -The New Situationwillalso include a number of works that will be on public view for the first time. A selection of works wioffered for sale, and a number loaned from distinguished collections.



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David Hockney, Bridget Riley and Anthony Caro, whilst internationally recognised today, were just some of mabright young talents who shared equal billing in museum and gallery shows both at home and abroad.The New Situationwill re-unite them with their contemporaries, many of whom are now unfairly overlooked, enabling todaaudience to rediscover this first generation of ‘Young British Artists’ who themselves were truly a ‘Sensation’, tyears before Norman Rosenthal and Charles Saatchi applied the name to another generation of young, exciting artist

Kasmin comments:Kasmin comments:Kasmin comments:Kasmin comments:“In the 60s, optimism arose in the art world and we newer people thought we could change“In the 60s, optimism arose in the art world and we newer people thought we could change“In the 60s, optimism arose in the art world and we newer people thought we could change“In the 60s, optimism arose in the art world and we newer people thought we could changethe prevailing British culture and make the Visual rival the Literary attitude. We admired daring and enthusiasm.the prevailing British culture and make the Visual rival the Literary attitude. We admired daring and enthusiasm.the prevailing British culture and make the Visual rival the Literary attitude. We admired daring and enthusiasm.the prevailing British culture and make the Visual rival the Literary attitude. We admired daring and enthusiasm.We were enemiesWe were enemiesWe were enemiesWe were enemies of ‘good taste’. For us, paintings were no longer adjuncts to polite living, and sculpture went of ‘good taste’. For us, paintings were no longer adjuncts to polite living, and sculpture went of ‘good taste’. For us, paintings were no longer adjuncts to polite living, and sculpture went of ‘good taste’. For us, paintings were no longer adjuncts to polite living, and sculpture went wild. No more ‘over the mantelpiece’ or on a plinth, the artworks challenged and exulted. We were on a several wild. No more ‘over the mantelpiece’ or on a plinth, the artworks challenged and exulted. We were on a several wild. No more ‘over the mantelpiece’ or on a plinth, the artworks challenged and exulted. We were on a several wild. No more ‘over the mantelpiece’ or on a plinth, the artworks challenged and exulted. We were on a several year year year year----long ‘high’.” long ‘high’.” long ‘high’.” long ‘high’.”

It was fifty years ago that Kasmin’s gallery - the first 'white cube' style gallery in London - opened at 118 New BStreet, just across the road from Sotheby's, in which he showed young artists from the capital alongside major figurfrom America and the Continent. Approached down a narrow corridor, which opened out into a bright, white room,from above by a large skylight, it was the first architect-designed ‘white cube’ space in London. His gallery haprofound effect on how young contemporary artists were seen, both by serious international collectors and by the hcrowd that attended the packed openings. It also gave the artists themselves the confidence to look out, across newhorizons. In many ways Kasmin - along with gallerist Robert Fraser (perhaps now best known for getting arrested awith the Stones and Marianne Faithfull) -was the Sixties art scene in London. Sotheby’s is honoured that he hascuratedThe New Situation.

Simon Hucker, Sotheby’s Specialist in Modern & PostSimon Hucker, Sotheby’s Specialist in Modern & PostSimon Hucker, Sotheby’s Specialist in Modern & PostSimon Hucker, Sotheby’s Specialist in Modern & Post----War British Art, said:War British Art, said:War British Art, said:War British Art, said:“ ““ “In Britain inIn Britain inIn Britain inIn Britain in the 60s, we see all thethe 60s, we see all thethe 60s, we see all thethe 60s, we see all themajor movements of the post major movements of the post major movements of the post major movements of the post----war period war period war period war period –––– from Pop, which in many ways we can lay a serious claim to havefrom Pop, which in many ways we can lay a serious claim to havefrom Pop, which in many ways we can lay a serious claim to havefrom Pop, which in many ways we can lay a serious claim to haveinvented, to Op, gestural abstraction to Hard invented, to Op, gestural abstraction to Hard invented, to Op, gestural abstraction to Hard invented, to Op, gestural abstraction to Hard----Edge and Minimalism. It was also a time when art Edge and Minimalism. It was also a time when art Edge and Minimalism. It was also a time when art Edge and Minimalism. It was also a time when art and and and and what an art what an art what an art what an art----object could be, wasobject could be, wasobject could be, wasobject could be, was redefined, with the London art scene, deeply intertwined with music, poetry and film, leadingredefined, with the London art scene, deeply intertwined with music, poetry and film, leadingredefined, with the London art scene, deeply intertwined with music, poetry and film, leadingredefined, with the London art scene, deeply intertwined with music, poetry and film, leadingthe way in installation, performance and conceptual art the way in installation, performance and conceptual art the way in installation, performance and conceptual art the way in installation, performance and conceptual art....” ”” ”

David Hockney’s PortraitKas and Jane (1965, on loan, private collection)shows Kasmin with his first wife in their flat, with a large Bernard Cohenpainting to the left. Both Hockney and Cohen were part of Kasmin’s stable of very young artist: he gave them both a solo show in 1963 and in many waysCohen’s work – large, abstract, linear – was much more the ‘Kasmin’ look:Hockney was the exception, since Kasmin just loved the work.

As well as being one of the star-artistsof the 60s, Anthony Caro was also ahugely influential teacher and hissculpture course at St Martins wasattended by a number of artists in theshow – including David Annesley.Annelsey had a bright start to hiscareer – Orinoco was shown atWaddingtons gallery in 1966(another important gallery at the time) and further edition of this work is in the Tate collection. While Caro remaione of the most celebrated British artists, Annesley has been somewhat overlooked. (Illustrated above: Anthony CarCleeve sculpture of 1965 with David Annesley’s workOrinoco of 1965.)



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Robyn Denny was another ‘star-artist of the 60s– a sensation before he left art school in the late50s, he represented Britain at the 1966 Venice

Biennale – two years before Bridget Riley shot tointernational fame by winning the InternationalPainting prize. In 1973, Denny became theyoungest artist (at that point) to have aretrospective at the Tate but this show almostdrew a line under his career, despite himremaining very much active as an artist. Denny’slarge-scale, urban architectural paintings weredesigned as a physical experience, to surround the viewer and draw them in to their sharp interiors. (illustrated rigRobyn Denny’sTed Bentley of 1961, together with Briget Riley’sImage I, Revised Whiteof 1967, on loan, privatecollection.)

Notes to EditorsNotes to EditorsNotes to EditorsNotes to Editors

Illustrated on first page:

Untitled (Circle)by David Annesley, 1966; Anthony Hill and Gillian Wiseby Howard Hodgkin, 1964-6;Bridget Bardot by David Laing, 1963;Viewer by Derek Boshier, 1963.

Photographs:

Robyn Denny working on the Austin Reed mural, 1959, photographed by Tony Messenger; David Hockney in BettFreeman’s LA home, in front of Beverley Hills Housewife, (1966-7), photographed by Kasmin, 1967; Kasmin andAnthony Caro in conversation during the installation of Caro’s exhibition at Kasmin Ltd, 1967, photographed bJorge Lewinski.

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sotheby's to stage 60s british art exhibition curated by legendary gallerist kasmin: the new...

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