Mnuchin Gallery is proud to announce an exhibition of works by Sam Gilliam. The exhibition will present examples of the artist’s two seminal series, the Beveled-edge and Drape paintings, spanning from 1967 to 1973. This will be the artist’s first solo exhibition in New York in nearly twenty-five years, and coincides with his installation at the Central Pavilion of the 57th Venice Biennale. On view from November 2 through December 16, 2017, it will be accompanied by a fully illustrated catalogue. An opening reception will be held Thursday, November 2 from 5:30 to 7:30pm.
The market for Sam Gilliam's work is stronger than ever. Just don't call it a comeback.
Critical and market attention for the abstract painter Sam Gilliam is at an all-time high. But longtime collectors and fans of the artist—who have watched him rack up accolades for at least five decades—consistently, and perhaps a bit defensively, caution against the word “comeback.”
Whatever you call it, Gilliam has been enjoying an unprecedented level of attention in recent years. The 85-year-old artist represented the US at the Venice Biennale way back in 1972; he was the first African American artist to do so. But his market has been slow to catch up—until now.
New York Times
Over their long and productive careers, certain important artists are taken for granted. I think Sam Gilliam has been. He’s maintained visibility, but not close attention. His current solo at Mnuchin Gallery, “Sam Gilliam, 1967-1973,” should help. It’s sensational, and it positions his painting in the top ranks of late-20th-century abstraction.
It’s a story the art world loves to tell itself: how it valiantly recovers and revives the career of a forgotten artist. In the case of painter Sam Gilliam, the story should be told thusly: It was Gilliam who recovered and revived something lost from the art world when it finally regained sight of his work. Born in Tupelo, Mississippi, on Thanksgiving Day in 1933, Gilliam moved in adulthood to Washington, D.C., and by the 1960s had made his name as part of the Washington Color School. His reputation thrived for decades, with solo exhibitions at the Museum of Modern Art, the Whitney Museum, and the Corcoran Gallery of Art, among others, as well as inclusion in the 1972 Venice Biennale.
Mnuchin Gallery is presenting an exhibition of works by Sam Gilliam. The exhibition presents examples of the artist’s two seminal series, the Beveled-edge and Drape paintings, spanning from 1967 to 1973. This is the artist’s first solo exhibition in New York in nearly twenty-five years, and coincides with his installation at the Central Pavilion of the 57th Venice Biennale. On view from November 2 through December 16, 2017, it is accompanied by a fully illustrated catalogue.
“Sam Gilliam: 1967–1973” at Mnuchin Gallery
Sam Gilliam‘s late 1960s and early 1970s “Beveled-edge” and “Drape” paintings will be the subject of his first New York gallery show in nearly 25 years. These groundbreaking early works, often folded and crumpled while the paint was still wet, stand apart from the typical output of Gilliam’s Color Field contemporaries, utilizing canvases with beveled edges that break the 2-D plane.