Simone Subal Gallery

Kiki Kogelnik

Fragments and Masks: Works from the 70s and 80s,

March 4 – April 8, 2018
Opening Sunday, March 4, from 5-7pm

  • Kiki Kogelnik New York, 1979 © Kiki Kogelnik Foundation
  • Installation view.
  • Kiki Kogelnik Untitled (Woman), c. 1975 Acrylic on paper 20 3/4 × 5 1/4 inches (52.71 × 13.34 cm) 24 × 18 1/4 inches (60.96 × 46.36 cm) (framed) Courtesy of the Kiki Kogelnik Foundation. © 1975 Kogelnik Foundation. All rights reserved.
  • Kiki Kogelnik Lady with Triangle, 1979 Silkscreen on paper 31 3/8 × 26 1/8 inches (79.69 × 66.36 cm) 34 3/8 × 29 1/8 inches (87.31 × 73.98 cm) (framed) AP X/XXX of an edition of 200 + XXX AP. Courtesy of the Kiki Kogelnik Foundation. © 1979 Kogelnik Foundation. All rights reserved.
  • Kiki Kogelnik Untitled (Face), c. 1976 Acrylic and pencil on paper 14 × 11 inches (35.56 × 27.94 cm) 17 × 14 inches (43.18 × 35.56 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1976 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Untitled (Still Life), 1981 Oil and acrylic on canvas 48 × 50 inches (121.92 × 127.00 cm) Frame: 54 3/8 × 56 1/4 inches (138.11 × 142.88 cm) Courtesy of the Kiki Kogelnik Foundation. © 1981 Kogelnik Foundation. All rights reserved.
  • Kiki Kogelnik Flowers, 1978 Pencil and ballpoint pen on paper 29 5/8 × 25 1/4 inches (75.25 × 64.14 cm) 32 5/8 × 28 1/4 inches (82.87 × 71.76 cm) (framed) Courtesy of the Kiki Kogelnik Foundation. © 1978 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Untitled (Head), 1986 Glazed ceramic 16 1/8 × 8 inches (40.96 × 20.32 cm) Courtesy of the Kiki Kogelnik Foundation. © 1986 Kogelnik Foundation. All rights reserved.
  • Kiki Kogelnik Untitled (Still Life), 1980 Paper, acrylic and pencil on paper 29 3/4 × 41 1/2 inches (75.57 × 105.41 cm) 32 3/4 × 44 1/2 inches (83.19 × 113.03 cm) (framed) Kiki Kogelnik Untitled, 1981 Acrylic on canvas 23 7/8 × 24 inches (60.64 × 60.96 cm) Frame: 24 3/4 × 24 3/4 × 1 3/4 inches (62.87 × 62.87 × 4.45 cm)Courtesy of the Kiki Kogelnik Foundation. © 1980 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Untitled, 1981 Acrylic on canvas 23 7/8 × 24 inches (60.64 × 60.96 cm) Frame: 24 3/4 × 24 3/4 × 1 3/4 inches (62.87 × 62.87 × 4.45 cm) Courtesy of the Kiki Kogelnik Foundation. © 1981 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Pink Swim, 1979 Silkscreen on paper 32 3/8 × 26 inches (82.23 × 66.04 cm) 35 3/8 × 19.0625 inches (89.85 × 48.42 cm) (framed) AP IV/XXX of an edition of 200 + XXX AP Kiki Kogelnik Untitled (Faces), c. 1980 Acrylic on paper 15 1/4 × 22 1/4 inches (38.74 × 56.52 cm) 25 1/4 × 19 1/2 inches (64.14 × 49.53 cm) (framed) Courtesy of the Kiki Kogelnik Foundation. © 1980 Kogelnik Foundation. All rights reserved.
  • Courtesy of the Kiki Kogelnik Foundation. © 1970 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Untitled (Still Life with Face), c. 1987 Acrylic and glitter on paper 30 × 22 3/8 inches (76.20 × 56.83 cm) 33 × 25 3/8 inches (83.82 × 64.45 cm) (framed) Courtesy of the Kiki Kogelnik Foundation. © 1987 Kogelnik Foundation. All rights reserved.
  • Installation view.
  • Kiki Kogelnik Untitled (Girl with Cigarette), c. 1974 Acrylic on paper 23 7/8 × 17 7/8 inches (60.64 × 45.40 cm) Framed: 26 7/8 × 20 7/8 inches (68.26 × 53.02 cm) Courtesy of the Kiki Kogelnik Foundation. © 1974 Kogelnik Foundation. All rights reserved.
  • Kiki Kogelnik Untitled (Face with Glasses), 1987 Glazed ceramic 11 × 6 1/2 × 2 inches (27.94 × 16.51 × 5.08 cm) Courtesy of the Kiki Kogelnik Foundation. © 1987 Kogelnik Foundation. All rights reserved.
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It is with great pleasure that Simone Subal Gallery announces the opening of Fragments and Masks: Works from the 70s and 80s on Sunday, March 4, 2018. The show runs until April 8, 2018. This is the gallery’s third presentation of Kogelnik’s work. Please join us for the opening on Sunday, March 4 from 5p -7pm.

The Austrian born Kiki Kogelnik (1935 – 1997) spent much of her career in New York. Her earliest works show an affinity for School of Paris style painting, but upon moving to New York in the early 1960s she developed a unique form of Pop Art that rethought the gendered subject through the intersection of science and technology. As her work progressed, a kind of detached-figuration—often created through vinyl cutouts of actual people—grew in complexity, both formally and content wise. Increasingly affected by the power of the Women’s Liberation Movement as well as a growing skepticism about the depiction of women in mass media, Kogelnik’s paintings, drawings, and graphic works of the 1970s have an uncannily familiar yet absent look to them. The women depicted at first seem all surface, but upon closer inspection they emote a whole range of feelings and sentiments. It is this tension between a precise, isolated form and a fomenting subjectivity that informs the selected works on view. Almost all depict a woman whose visage appears more often than not as a mask or a type of screen. An air of defiance is often present in these pieces, especially in Untitled (Girl with Cigarette) from 1974, whose world-weariness portrays the utter rejection of normative social values.

Since the mid 1960s cut outs have been a central aspect of Kogelnik’s practice. She has used flattened human forms as either stencils for her paintings, or as sculptural elements that evoke thoughts of flayed skin and the anonymity of fashion. In the late 1970s and 1980s Kogelnik distilled this working method in a group of paintings, drawings, and ceramic wall pieces. Her attention trained mostly to the faces of women—but also to geometric forms— and her use of cutting and fragmentation generated compositions that are both disorienting and oddly liberating. Kogelnik was engaged with the Downtown New York art scene in the late 1970s and 1980s. Her gaze was capacious, and she incorporated in her works a variety of styles and elements she encountered. Yet things like appropriation, as it came to be understood in the 1980s, or a direct involvement with mass media are not immediately present. Instead, she maintains a critical distance, one that allows poignant themes from her past to permeate these vibrant compositions. The use of stencils and repeated patterns, as with Untitled (Still Life) [1981] and Untitled [1981], hint at ideas of automation and the dehumanization of the subject. The objects and figures seem to float aimlessly in what appears to be a virtual world, like a scene from the 1982 movie Tron. The ceramic sculptures like Untitled (Head) [1986] only intensifies this feeling; it is like a wisp, fixed to the wall yet disembodied.