November 20, 2015 - JAN 17, 2016, 2016
Opening Reception: November 20, 6-8 PM
A Conversation with Eugenie Tsai, Jens Hoffmann, and Andrianna Campbell: January 10, 1 PM
James Cohan is pleased to present Pop, an exhibition of the late Robert Smithson’s works on paper and select sculpture from 1962-64, on view from November 21 through January 10, 2016. This exhibition marks the debut of James Cohan’s second NYC gallery space located on the Lower East Side.
In 1963, at the age of twenty-five, Robert Smithson was immersed in the vitality and experimentation of the burgeoning downtown New York art scene. Smithson fed on the clashes of style, form and meaning found along his rambles through the city; from the downtown kiosks hawking porno magazines and comic books, to the movie houses of Forty-Second Street with their “low budget mysticism of horror films,” to the mineral displays at the Museum of Natural History, and across town to the Met’s Byzantine paintings and the “cold glass boxes” along Park Avenue. From this absorption of the city, Smithson developed his complex theory of entropy and the symbolic language he used to explore it. Art critic Carter Radcliff explained that for Smithson “meaning emerged from the disintegration of meaning,” and “in 1962, that argument flowed from the restless ironies of his hand.”
Smithson’s prolific drawings from this period, including those about language and Christian iconography, sought out disorder from the hierarchies of social conventions and popular culture. The series of drawings on view at the gallery are composed like biblical panel paintings with collaged or drawn elements in the center of the page surrounded by free-floating figures in nested zigzag motifs. The erotic imagery includes male and female nudes depicted as American icons sporting baseball caps and scuba masks, lifting weights, and riding horses, while others are pin-ups and action figures recast from legend with wings and thunder bolts. The works in Pop highlight Smithson’s search for what curator Eugenie Tsai referred to as “comparative mythologies,” or modern-day equivalents to the archetypal models established throughout the history of human culture.