Joel Grey, William John Kennedy and Max Kozloff
September 12 - October 19, 2013
Opening Receptions and Book Signings
Steven Kasher Gallery opens its Fall season with three coordinated exhibitions. The three solo shows are by Joel Grey, William John Kennedy and Max Kozloff. Each show in its own way depict s New York City as an all-embracing arena where art, performance and the street are in constant creative interaction. In images that span six decades, New York City is revealed as the world's biggest and best museum and theater.
Joel Grey: The Billboard Papers portion of this triple-feature exhibition includes 10 large-scale color photographs of torn and decaying billboards from the streets of New York by the award-winning actor and photographer Joel Grey. The show coincides with the release of The Billboard Papers (Pointed Leaf Press, 2013), Joel Grey's fourth photographic monograph. The photographs resemble paper collages, revealing dramatic and unexpected layers of the billboards' past. As Ross Bleckner writes in the preface: "This is Grey's signature theme: the ephemeral and overlooked evidence of urban development and decay. These photographs are tapestries of embedded memories, constantly fleeting and subject to change, or demolition, or renewal."
The William John Kennedy: WARHOL LOVE INDIANA exhibition features over 20 black & white and color photographs from 1963-64 of Andy Warhol and Robert Indiana by William John Kennedy. Also exhibited will be original early 60s work by Warhol and Indiana, including a 6-foot felt LOVE banner, one of the first versions of Indiana's most iconic image. The show coincides with Robert Indiana's first major retrospective, Robert Indiana: Beyond LOVE, at the Whitney Museum September, 26th through January 5th , and with the broadcast debut of a one-hour documentary about Kennedy's photographs, Full Circle: Before They Were Famous.
Max Kozloff: New York Over the Top consists of a collection of 20 color prints drawn from over 35 years of Kozloff's New York photography. Kozloff is a street photographer, alert to the extravagance and sorrows of life in the Big Apple, which he visualizes with idiosyncratic color. Kozloff photographs his fellow citizens with an urban eye. He does not see them as legendary creatures, but he often makes them out to be fabulous presences, glimpsed at carnivals and festivals. He is especially enchanted with that he has called "the music of faces", a spectrum of moods at variance with the consumerism or ethnicity of circumstance. Statues, effigies, or teddy bears seem to offer internal witness to what he calls New York Over the Top.